Mostly Musical Theatre

Side Show is spectacular in every way (Broadway – review)

The cult 1997 musical Side Show is back on Broadway, and this time around it is a sure-fire unqualified hit. 60% rewritten, the power ballads are still all there, while other songs have been cut and many others added. Relationships are better defined. Characters no longer just make irrational decisions. And what you now have is a tightly focused musical comedy drama of the first order where everything happens for a reason.

In short, I just loved this revisal — or rewrite as it is. From sets to performers to the best orchestrations currently on Broadway, it is a thrilling evening of theater. While it deals with dark material, the show itself is never dark, rather it teams with a spirit and enthusiasm that keeps you spellbound throughout.

For the uninitiated, the musical tells the story of Daisy and Violet Hilton, conjoined twins who escape an abusive sideshow background to become vaudeville and eventual movie stars during the depression. To convolute things, there is a kind-hearted choreographer who may or may not be in love with Violet (who longs for romance) and an agent who very much is in love with Daisy (who longs for fame) but with strings attached. Like the best of musicals, there are choices to be made, and the audience sees the result coming long before our characters do, making the ultimate result both thrilling and heartbreaking. The show ends long before exploring the twins eventual life circumstances. I’ll leave that to your own google search, because what comes after this musical is as fascinating as what occurs herein.

Erin Davie and Emily Padgett play Violet and Daisy, and their voices simply soar performing the Krieger score. They are able to convey two very different personalities, while sharing the simpatico that is so necessary in those roles. Clear-voiced Ryan Silverman plays the agent, Terry, and the dewey-eyed Matthew Hydzik plays Buddy, and gets in on some of the singing and dancing in the new numbers created for this revisal. David St Louis is simply stellar as Jake (his “You Should be Loved” is a bonafide show stopper). The entire ensemble plays multiple roles with skill and amazing vocal talent.

Easily half of the original score has been discarded, and new numbers re-written — and its all for the better in each instance: the songs work better, are less ensemble-bound, and allow clearer delineation of the characters. Some of them are better in every way — “Stuck with You”, the Act II opener comes to mind. Instead of a big vaudeville burlesque number (the original production’s “Rare Songbirds on Display”) you get rehearsal and then production of an upbeat number involving the girls, Buddy, and another male ensemble member (who later plays a much more important part in explaining Buddy’s ambivalence toward marriage) It is a superb substitution, and the execution is gut-wrenching and every bit musical comedy at the same time. The abysmal “Tunnel of Love” from the original is gone, with the melody reworked into the later “Wedding Show” in this one.

Intermission now comes in a different place, and clearly draws a line between leaving the side show, and their future lives away from there. Every single number lands on both an entertainment as well as a dramatic level — and the audience leaves feeling both emotionally drained as well as exhilarated.

Orchestrations are remarkable — I might go so far to say that they are the best current orchestrations on Broadway. With a driving force that pushes the show forward, as if to a pounding heartbeat, the instrumentation propels the action and never gets in the way when not necessary to do so. Kudos to UM grad Greg Jarrett who conducted my performance.

Don’t hesitate to get tickets to Side Show — an evening of musical theater that you will not soon forget. And when you purchase tickets, keep in mind that the St. James Theatre is humongous. For this production lower and closer is better.

Sting’s “The Last Ship” sinking fast (Review- Broadway)

So the good news from the Neil Simon Theatre is that a group of very talented actors are singing some very good Sting songs in a very well directed (Joe Mantello) and organically choreographed (Steven Hodgett) The Last Ship. The bad news is that the storyline is slight, implausible , and that audiences are not coming (playing at 61% of capacity I can not imagine this ship will stay afloat past the holidays). Seen on a Friday night, the house was far from capacity.

It might be that most reviews mention it is a dark, bleak look at a dying British ship-building town. Well, it’s not dark, and it’s not bleak…the musical brims with life, life-affirmation, and energy.

More realistically, it might be that there isn’t the emotional payoff one expects from this sort of “rally around the boys” material — one need only see the recent British film “Pride” to see how that is done right. The script here (started by Brian Yorkey and finished by John Logan) is oddly devoid of feeling. Even the big emotional moments feel lackluster.

The same can not be said of Sting’s remarkable pop-rock score: filled with big ballads, contrasted with Celtic bar songs, there is no doubt who the star of this musical is. The songs soar and reverberate with longing, despair, and high hopes. Those are tough shoes to fill for the excellent Michael Esper, but throughout you can’t stop thinking about how much better you liked hearing Sting sing these songs in the recent PBS broadcast. Rachel Tucker is also excellent as the love-torn ex-girlfriend stuck in a triangle with Esper and Aaron Lazar. Brit Jimmy Nail nails his part as the shipyard foreman and the show’s everyman as does Sally Ann Triplett as his wife. Fred Applegate plays the local priest who likes to lift a pint, and young Collin Kelly-Sordelet plays both the younger version of Sting’s alter-ego as well as later, his son.

Oops, see, there I go again — these characters are so intertwined with Sting’s life and his music that their parts become almost superfluous — we are merely observing different actors play their parts and sing his songs, and you never, even for an instant, stop hearing his voice and his longing. And that is a ship that is not sailing along, merely bobbing tied to the shore.

By the time these lovely blokes finish building their last ship and decide to climb aboard for a final ride, the allegory of moving along and loving who you love has hit you over the head so many times, you simply smile and sit back, and go with it.

If you want to take this ride, book your voyage for a performance not that far out. There are no guarantees this ship won’t soon make it’s final trip.

On The Town…Yazbeck, Yazbeck, Yazbeck (Broadway review)

There’s a shiny production of the musical On The Town at Broadway’s Lyric Theatre, and the shiniest star of all is Tony Yazbeck’s brilliant singing/dancing performance as seaman Gabey. He’s followed closely by the superb performances of his buddies-on-24-hour-leave Clyde Alves and Jay Armstrong Johnson, and his would be love, Miss Turnstyles Megan Fairchild. Let me also mention the hilarious performances of Alysha Umphress as Hildy and Elizabeth Stanley as Claire. Oh, and then there is the funny-muggy performance by Jackie Hoffman as virtually everyone else. Throw in a superb singing and dancing ensemble, and you have the makings of a shiny production indeed.

Swiftly and hilariously directed by John Rando (think pratfalls and lots of action close to the stage apron) and utilizing state-of-the-art projection by Beowulf Boritt (whose name alone comes in for the win), the show barrels along in 2 hours 40 minutes. Joshua Bergasse’s extraordinary choreography is sure to be recognized come award time, and that he is blessed with the talent of Yazbeck and Fairchild for his Broadway/Ballet mix of movement makes it all the better — the choreography here is the best I’ve seen on Broadway nice Newsies.

But the real takeaway here is Tony Yazbeck…his vocals simply soar in “Lonely Town” and when does he breathe during “Lucky to be me”??…but then come the dance numbers and I can’t think of a musical where actor and his talents are better on display than Tony’s in On The Town. It is breathtaking, and his Pas de Deux with ballerina Fairchild is simply sublime — but the audience has long been won over before that point.

Whether you are rooting for Chip and Hildy, Ozzie and Claire, or Gabey and Ivy, make room for this sublime romp through 40’s New York City.

Very Highly Recommended.

Lead Performances drive this “Parade” (Peppermint Creek) Review

Love it or hate it, any theater company takes a risk when producing the Alfred Uhry/Jason Robert Brown musical “Parade” — it is a hard sell to get an audience to empathize with a jewish factory manager who may or may not have committed the murder and rape of a 13-year old factory worker in 1912 Atlanta, Georgia. You might be familiar with the story from the 1987 movie “The Murder of Mary Phagan” or the 2009 The People v Leo Frank. Its a challenging and complicated musical to be sure, but one that has Peppermint Creek fortunately sold out throughout its run.

What really makes this particular production soar is the outstanding lead performances by Adam Woolsey as Leo, and Mary Maurer as his wife Lucille. Individually and together, their vocals and acting soar, and make this a compelling piece of musical theater. I’ve seen Adam in several productions now, and the work here surpasses anything he has done previously, and comes unexpectedly — that the show works here is in large part due to his subdued and empathic performance. There is also very solid vocal work from up-and-comer Ben Cassidy as Frankie Epps (among other small roles).

If you don’t already have a ticket, you won’t be able to see this remarkable singing performance — but look for other works by Peppermint Creek in Lansing — I’m particularly looking forward to seeing the local premier of the off-Broadway Pasek and Paul musical “Dogfight” this spring.

Kudos to a theater company willing to take risks — and not perform the “same old stuff” — and what better way to see that rewarded but sold-out houses.

Motown the musical, Fisher Theatre, Detroit (Review)

This is another in a series of guest reviews, this week written by Wendy Wright who has a unique professional vantage point of viewing the tour of the Broadway musical “Motown.”

Let me preface this by saying that I host a radio show called “From Memphis to Motown” Saturday afternoons from 1-4pm on 89.1 WEMU, and thus I’m predisposed to love a show called Motown: The Musical. For me the original “Happy” music came from Motown. When I hear songs like Ain’t No Mountain High Enough and I Heard It through the Grapevine it makes me want to move. And I did love it…for the most part. Spanning 45 years and covering 60 songs, almost all well known classics, Motown: The Musical is a lightning paced confection that is loosely held together by a narrative that traces the lifespan of Motown Records and its founder Berry Gordy.

For those uninitiated, Motown: The Musical is what is called a Broadway jukebox musical which means it’s all about the songs. The book by Berry Gordy, based on his 1994 autobiography To Be Loved: The Music, the Magic, the Memories of Motown, chronicles his personal and professional relationships with Motown artists such as Diana Ross, Smokey Robinson, Marvin Gaye, and Michael Jackson.

As I was leaving the theater, I overheard someone say the story was different than they had heard before. And that might be the problem. The relationships, many of which have been well documented, seem sanitized, or at the very least glossed over. What is left is a slick, well oiled machine, which is probably not far removed from the “music factory” which was Motown.

On this particular afternoon one of the two actors understudying the role of Berry Gordy went on and no one missed a beat. In fact, all of the major roles had two understudies, probably because this may be the hardest working cast in show business. With the exception of the actors playing Gordy, Diana Ross, Smokey Robinson and Marvin Gaye, all the other performers (with the exception of the young man playing Michael Jackson, et al) are credited as ensemble. Don’t let that fool you. This is a cast of powerhouse performers. Despite playing as many as five roles (with multiple costume changes), each actor gets their moment to shine. Stand outs include Elijah Ahmad Lewis as the adult Stevie Wonder, who garnered a standing ovation mid-show and Krisha Marcano as Florence Ballard. Of the leads, Nicholas Christopher as Smokey Robinson and Jarran Muse as Marvin Gaye were particularly effective. Allison Semmes as Diana Ross had some nice moments as the aloof star, but struggled with the younger version of the diva. Jamarice Daughtry stepped into the shoes of Gordy as an understudy gracefully. Leon Outlaw, Jr as the young versions of Berry Gordy, Stevie Wonder and Michael Jackson is a child prodigy that should be dissected and studied, he was so spot on.

One thing is for sure, if imitation is the greatest form of flattery, Berry Gordy has written a love letter to his former stars. My only real complaint was that I wanted more. Many of the songs were performed in medleys which was a shame, because the bottom line is that everyone who comes to see Motown: The Musical comes for the songs, as well they should. Seeing it in Detroit makes the experience special. The audience, who clearly knows these artists and this music, was with the cast from the very beginning and I can only imagine what it must feel like to receive that kind of love cascading over the stage. If you love Motown music, you owe it to yourself to see this show and what better place than just down the street from the original Hitsville, U.S.A

Motown the Musical continues at the Fisher Theatre through November 16th

Twelfth Night – AACT (Guest Review)

This guest review is brought to you by Wendy Wright. Thank you, Wendy!

One of the reasons the works of Shakespeare have stood the test of time, are their ability to be shaped and interpreted in many different ways. In Kat Walsh’s production of Twelfth Night at the Arthur Miller Theater for A2CT, the play has been stripped down to the bone which allows the text to take center stage.

The story of Twelfth Night is basically about twins who are separated. The girl twin dresses as a man and has to woo a Countess for a Duke, whom she herself loves. Then the boy twin comes back, they look identical, and there are crazy misunderstandings. There’s also a subplot involving the uncle of the Countess, a cowardly knight and an arrogant servant.

What sets this production apart from other versions I’ve seen was the simplicity and clarity. This is helped in great part by a minimalist set by Nathan Doud and the understated costumes by Liz Getty. A quick glance at the program shows that a large majority of the cast has lots of experience in interpreting Shakespeare’s language, and it shows. It is clear that these actors know what they’re saying and can easily communicate it to an audience.

The roles of Viola and Olivia have some of the greatest scenes in all of Shakespeare and Carol Gray and Kaela Parnicky make the most of them. Parnicky’s Olivia is especially effective in running the gamut of necessary emotions and mining every comedic moment. A new comic duo is born with the combination of Jeff Miller’s Sir Toby Belch and Chris Grimm’s Sir Andrew Aguecheek. They play off of each other effortlessly and provide some of this production’s highlights. The live music is lovely and Feste as played by Dory Mead has a beautiful voice.

Was this the funniest production of Twelfth Night I’ve ever seen? No. But Walsh’s choice to concentrate on the text and the music makes for a very enjoyable and understandable evening. As a director of an upcoming A2CT show, I hope that many of the actors making their A2CT debut return later this season.

Twelfth Night continues tonight at 8pm and tomorrow at 2pm at the Arthur Miller Theatre, UM North Campus. Tickets are available at the door or at A2CT.org.

Surprisingly glorious “Camelot” tour (review, Toledo)

Every now and then, you see a musical that catches you by surprise to the point that it takes your breath away — What, you ask? Another tour of that tired 1960 musical Camelot? Well, guess what, I’m here to tell you that the current national tour (non-equity) did just that this afternoon.

Director Michael McFadden might have finally hit upon the pieces necessary to rework this piece, and this revisal is a masterclass in making something out of not much: completely re-orchestrated and pared-down from the original production, it also re-arranges some of the musical numbers which work much better in their current settings, and makes judicious use of cuts: gone is that weird Morgan le Fay stuff…gone are the overture and entre’acte…gone are all the dance numbers…gone are those long instrumental scene changes (not needed with modern tech, which this show has in spades)…gone are the stodgy old musical arrangements…gone is that long long pageant sequence for the knighting of Lancelot (though its there, in a new time-measure, and working lickety split to convey the story while not bogging it all down).

Added are rhythmic drum breaks during scene changes, and a glorious set design which is basic-unit in design with additional pieces flown in and out as necessary. Added are new rhythms to many of the songs — gone are the long introductory narrative slogs leading into the songs…those that remain have been rearranged, sped-up, and dare I say that Lerner and Loewe’s score sounds fresher than ever.

What this means is that the show is pared from a run time of 3 hours to 2 hours 20 minutes including the intermission — and the love-triangle firmly established from early on. The show now has a tight focus on the Arthur/Guenevere/Lancelot story, and the last twenty minutes are genuinely thrilling. It helps significantly to have moved “If Ever I Would Leave You” to the penultimate sequence, and there were plenty of genuine audience tears at the end of the show, something I have never experienced at any production of Camelot in the past.

Ok, now this is a good place to mention that in general I don’t like Camelot, though this production might finally prove me wrong. Not gone are the ridiculous songs for Mordred in the second act – his role is to primarily catch Lance and Guenevere in the act yet he takes up 15 minutes of stage time singing two utterly forgettable songs (though Kasidy Devlin is sublime as the sleazy character, who for better or worse plenty of parents would be happy to cast off as Arthur did, only to have him return to bite him on the butt later in life). Also not gone is Nimue’s “Follow Me” number — which earned some snickers in the audience this afternoon despite the earnest (and pretty) staging.

But oh, what a wonderful cast…McFadden has solved the problem right out of the gate by casting two hunks in the leads and letting Guenevere understandably be conflicted over the two, there are no bad choices…Adam Grabau (Arthur) is superb — Mary McNulty (Guenevere) positively channels Julie Andrews in her effervescent performance — and Tim Rogan is especially glorious in the role of Lancelot. Yes please.

The entire 17-member cast is superb, and they sound great under the musical direction of Marshall Keating (though I must also mention the excellent musical supervision and additional orchestrations by Steven M Bishop). Though the smaller cast does have its down side for the men: it means doubling and even tripling character parts and it results in things like Squire Dab instantly reappearing as a knight in King Arthur’s court moments later, and the knights in the joust sequence hopping on and off stage to be able to keep the vocals going. When the men’s ensemble is finally allowed to let go they sound lush and fuller than their small size (even if it is on the time-wasting “Fie on Goodness” number). Two local boys alternate to play Tom of Warwick (Croswell Opera House in Adrian’s own Cole Carrico at my performance!) and Findlay’s Jeremy Gobrogge.

I’ve heard nothing about this tour’s next stop after their long trek across the US — and marvel at the energy of a cast that must be thrilled to have an entire week at the Stranahan rather than the one or two night one-offs they are playing nationwide. I mention this because I truly hope its not the end of the road for this excellent production — New York is a bit crowded with revisals this season…but next year?…

Very Highly Recommended.

See camelottour.com for tickets and schedule.

“Carrie the Musical” at Croswell…or why you should go see this flop musical (Review)

A musical theater history lesson for you today: Carrie the musical (Lawrence Cohen book, Michael Gore music, Dean Pitchford lyrics) has gone down in history as one the the biggest (and most expensive) Broadway flops ever…opening in England at the Royal Shakespeare Festival in Stratford no less (with Barbara Cook playing the mother)…written, rewritten, reworked, it never worked…Cook left the show in a huff (reportedly after almost being hit by some scenery, though most likely because she was smart enough to bail ship before NYC), and despite reviews that were all pans, somehow arrived in NYC with no changes at all, and got the same horrendous reception and closed after 5 performances (with Betty Buckley having replaced Cook). Those of us who were lucky enough to see it know we witnessed Broadway history (some of us, eh hem, me, even saw it TWICE and brought friends to see the worst musical ever written along). Entire books have been written on this failure. Then, lo and behold, a retooled version opened off-Broadway a few years ago, and it wasn’t terrible. It was still bad, but the music was finally recorded, and the show has taken on a new life in college, high school, and community theater.

And you should see the production currently playing at the Croswell Opera House because you won’t see a better production of it anywhere locally.

See it for the decent score, some of the power ballads of which are simply gorgeous — under the musical direction of Jonathan Sills, both the orchestra and most of the leads sound great. Some of the ensemble struggle with the higher notes of this difficult score, but its passable and works okay. Very strong Mariah Valdes (Carrie) and Elizabeth Baugh (her mother) are excellent individually and their scenes together are superb. They alone are reason enough to see the show.

See it for the great set work and lighting design by Don Wilson and Tiff Crutchfield. Granted, shows always look great when creepy scenes can be bathed in red washes, but its another story altogether to make the colors pop as well, and here they do.

See it for an energized young cast, many of whom are appearing for the first time on Croswell’s stage, and Eric Parker’s swift and fluid direction.

But don’t see it for the story — its a whitewashed version of Carrie with nearly all of the creep-factor missing; it has one of the worst books ever written for a musical (not surprising given how much tinkering was done with this show early on), and it makes you more sad for Carrie than it raises any type of suspense.

And don’t see it for the spectacle — while there are some attempts made at conveying some stage tricks indicating Carrie’s telekinesis (read: a chair sliding a few feet), most of the magic is missing here. One of my favorite scenes in the show, Carrie preparing for prom, is missing the flying hand mirrors and brushes, and the finale (though it makes good use of projection and smoke effects) is missing any type of exciting climax.

Still, you are not likely to see a better production of this show anywhere locally — and it is worth seeing.

Finally, see it for the historical significance of the musical theater piece itself. You will most likely find yourself talking about it all the way home, whether you loved it or hated it (and there were plenty in the audience who loved this show, both on Broadway and at the Croswell last night). And if you can get a group of people to talk about musical theater, then all the better.

Recommended.

Carrie continues at the Croswell Opera House through October 26th. Tickets at croswell.org or 517-264-SHOW

Extraordinary “Cabaret” at the University of Michigan (review)

The University of Michigan’s Musical Theater program in the School of Music, Theatre & Dance is generally known for producing the best local musical theater presentations. Every now and again, even they outdo themselves and their production of the revisal version of Kander and Ebb’s Cabaret is one of those musicals.

Every aspect of this production is just right — from Joe Locarro’s direction and Ron De Jesus’s brilliant choreography, to Bruce Brockman’s outstanding set design (I’ve never seen the stage of the Lydia Mendelssohn so amazingly transformed) and Rob Murphy’s lighting design, and the great musical theater program student cast.

Taking the 1998 revisal and lightening it up a bit (the Broadway version is actually a bit darker, and certainly costumes its cast in much less) until the (heavy-handed but affecting) ending, the production has the audience engaged from opening note. My one regret is that the revisal cuts my favorite numbers from the original production: “Telephone Song” and “Why Should I Wake Up?” – though it does substitute the latter with the grimmer “I Don’t Care Much” later in the show.

Watching UM musical theater productions is a bit like watching a pre-Broadway tryout, since that is where many of these actors will end up, some sooner than others. I can’t imagine it will take long for this production’s Emcee, Mackenzie Orr, to land a role there. He is in a word, magnificent. I could not take my eyes off of him, whether he was performing one of his (many) numbers, or simply lounging about the Berlin-based cabaret set, watching, wordlessly witnessing a world disintegrating on the evenings just prior to one of humanities greatest human tragedies. What makes this musical work so well is that the audience knows how it ends, while watching and witnessing a group of people who have no idea what their future will (or will not) bring – and the suspense is palpable (and why the original production did not feel the need to tack on the ending later added to the revisal).

Isabelle McCalla is a beautiful Sally Bowles, and she is directed to play the part similarly to leading ladies on Broadway (think Michelle Williams, Natasha Richardson), somewhat subduing the original humor and sassiness of the part. Dylan Stasack plays Cliff Bradshaw with the bravado necessary to be one of the few people on stage who see where this world is heading; the other is Ellie Todd playing a wonderful Fraulein Schneider (she who understands that marrying a Jewish suitor, Kyle Timson as Herr Schultz, is not the correct choice at the time). Brian Flores plays a dynamic Ernst Ludwig, growing from friendly English-student nebbish to something far far more menacing. The entire singing/acting/dancing cast is excellent.

Kudos to musical director/conductor Catherine A Walker for superb work with the diction and blend, and her spririted on-stage orchestra. Good work is also done by Jim Lillie in his sound design, where every word is audible, and every sound has meaning (where were you during Les Miserables last season, Mr Lillie?).

If you have seen Cabaret before in its reincarnated version, you will find it is all here, with a few added surprises. If you have only seen the original 1966 version or the 1972 film version, you’ll find this to be an altogether completely different experience, and if you have never seen the show, you are in the for biggest surprise of all. Cabaret made musical theater history when it opened on Broadway. To see it performed live-on-stage, where you become witness to a world spinning out of control while dancing and boozing the nights away, leaves you with a sense of something profound. When you see it performed this well, it becomes extraordinary.

Very Very highly recommended.

All tickets for Cabaret are sold out for the duration of its run. Cancellations, if any, might be available at the door, although expect a long line ahead of you.

Luscious Wildhorn score makes Dracula at the Dio soar (review)

Running only 150-some performances on Broadway in 2004, Frank Wildhorn’s musical adaptation of Dracula has taken on a life of its own with multiple rewrites in major productions. The revised (better) version is now playing at the Dio Theatre in Pinckney, and you can instantly see what attracted him to the project to begin with — a gothic romance with a rich history and plenty of material to work with. When I saw the production in NYC, it struck me as one of the most stunning scenic designs and special effects I’ve ever seen on a stage, and recall the lovely score, while at the same time wondering why there is a cowboy in the cast.

New Yorker Joshua David Cavanaugh has a terrific voice and makes the most of the role of Dracula himself. Steve DeBruyne is terrific as Jonathan Harker, especially his song “Before the Summer Ends” towards the end of the show. Jared Schneider is a pitch perfect Renfield, and Andrew Gorney an assured Van Helsing. Cody Musteffe (Dr. Seward), Peter Crist (Morris) and Zak Stratton (Holmwood) are very good in their supporting roles. As to the women, always strong Mahalia Greenway is superb as Lucy, and Sarah Brown sings Mina beautifully. The trio of vampires (Dracula’s “wives” — don’t ask) are well performed by Kristin Reeves, Erin Otteman, Emily Rogers, and Lydia Adams. There’s also a child who fulfills his small part well (Gavin Burwell).

The real star of this show is the luscious Wildhorn score (lyrics and book by Christopher Hampton and Don Black) and the Dio’s cast, led by musical director and orchestra conductor Tyler Driskill, sounds vocally wonderful and makes this production soar. The diction is superb, and the balance between orchestra and cast is good. Okay, there’s no flying, and Dracula doesn’t go walking across the ceiling like he did in NYC, but the very interesting set and lighting are designed by Matthew Tomich, and it rises right up to the ceiling playing out on multiple levels. Norma Polk’s many costumes are gorgeous and flow well on stage. Crosses burn, flames fly, and The Dio’s most technically ambitious show yet looks great.

I commend The Dio for taking a risk and producing this little-known musical. When other local theaters are falling back on Annies and Music Mans, its a breath of musical theater heaven to have this strong score on stage here in Michigan.

Ok, now, a bit on the show itself — like some of Wildhorn’s other shows, the music is far better than the material. While most of the original story of Dracula is here, its a bit convoluted — and at other points it helps to know the story well, because it makes leaps from one scene to another without the explanatory information in between. Look, lets be honest: if you are going to see a musical about Dracula, you are not going to be looking for a strong book, and you don’t find it here — the script is, well, in a word, scattered. But the music makes up for it, and Steve DeBruyne’s directing increases tension in a well-paced way. Heck, the director/producer in me wants to grab into this show and salvage the super chamber musical inside from its own overblown excesses…but this show has been rewritten enough. Suffice it to say, go for the music, stay for the story. And just scratch your head as to why there is a cowboy on stage, and let it go at that.

Chef Jarod has provided a hearty and delicious meal as always, and overall, this is a pleasant way to spend a fall evening or afternoon.

Recommended.

Dracula continues at The Dio through November 2nd. Book your seats now because many performances are selling out and it will get fuller as Halloween approaches. 517-672-6009 or online at diotheatre.com