The Broadway tour of Some Like it Hot has landed at the Fisher Theater for two weeks and it is a high-flying energy-filled musical theater treat.
It is not worth another review praising the musical, fresh off Broadway with a handful of Tony Awards to boot, except to say that I love standard book musicals, and this is one terrific story-driven musical absolutely crammed with jazz-era songs and spectacular dances brought to you by director/choreographer Casey Nicholaw with music by Scott WIttman and Marc Shaiman (Hairspray, Catch Me if you Can) and book by Matthew Lopez and Amber Ruffin based on the MGM movie.
The entire cast is exceptional, and I laughed heartily throughout the evening. Told in standard scene-song-scene-song style with great big musical numbers that are heavy on tap, the format is broken only once and it is brilliant – Nicholaw’s dance-infused chase scene in the penultimate scene is simply brilliant stagework.
I loved this entire show from top to bottom and you will too. It was criticized a bit on Broadway for it’s “woke” approach to the story — but I don’t think there is anything unusually woke about it – this is a different time than the 1959 Billy WIlder film, and I like to think of the ending as course-correction rather than wokeness. This ending simply couldn’t have existed in a slapstick movie on a screen in 1959.
Very Highly Recommended.
Some Like it Hot continues at Detroit’s Fisher Theatre through October 13th. Tickets at BroadwayInDetroit.com
Ann Arbor Civic Theatre kicks off it’s 24-25 season with a strong production of Sam Shepard’s Curse of the Starving Class. Staged at the theatre’s studio on Ann Street in downtown Ann Arbor, it is an intimate, well-acted affair of the award-winning 1977 family tragedy/comedy/thriller.
Primarily concerning the collapse of a family, with the creditors closing in, it is about far more than that, of course, with it’s smattering of philosophy, politics, human frailty, alcoholism, parental neglect, and all those luscious Shepard treats.
Amy Bogetto-Weinraub is superb as matriarch Ella (her real-life daughter Mia is terrific as her stage daughter Emma). Rob Roy likewise is excellent as patriarch Weston whose character is by far the most interesting in the play – with an outstanding ability to play bottom of the barrel alcoholic as well as high-functioning alcoholic that brings a wise nod to each extreme.
I particulary liked the performance of Benjamin Blondy as son Wesley – wisely watching everything unravel and soon following in his dad’s shadow in Shepards most blatant example of cycles of family dysfunction. He creates the evening’s most enigmatic character and is worth keeping an eye on.
Other good performances are turned in by Neil Clennan as lawyer Taylor, Marcus Caesar as bar owner Ellis, Andrew Packard as Officer Malcom, and Maureen Hamilton and Vox WilkinSchild as thugs Slater and Emerson.
Glenn Bugala directs with an assured casualness and ever-increasing pace. And sound designer Bob Skon now has a bleeting lamb sound-effect I want as my new phone ringtone.
Recommended.
Curse of the Starving Class continues at Ann Arbor Civic Theatre through October 13th. Tickets are available online at A2CT.org or by calling 734-971-2228 – The season continues with Uncle Vanya in December, Steel Magnolias in May, and Spring Awakening in June,
For the first time in its long history, The Croswell Opera House opened a stunning production of Masteroff, Kander, and Ebb’s musical Cabaret last night, and it left me (and most of the audience) speechless.
Stunning because Erica Wyman Abrahamson’s direction is spot on perfect, informed by intimate knowledge of every line and every emotional note in the musical.
Stunning because David Blackburn’s Emcee guides you every step of the way from early decadence to later tragedy and it’s a perfect transition from his hilarious firepole New Year’s Eve countdown to his simply hair-raising “I Don’t Care Much”.
Stunning because the Kit Kat Girls and Boys never miss a beat in their many songs and smaller parts. Chris Stack brings a deceptive warmth and cozy comfortness to his Ernst as he heads toward the big reveal at the end of Act One and speaks to the modern day “cabaret” of politicians. Kyler Mattoon is great as Fraulein Kost with sailors floating in and out of her rented room at night and an underlying pro-Nazi sentiment steaming ever under the surface. Leah Fox is haunting as Sonja, who also provides live accordian accompaniment throughout the evening. Listen for the train whistle sounds during the final moments. Chills.
Stunning because you’ll never find a better pairing than real-life husband and wife Jared and Julia Hoffert as Herr Schultz and Fraulein Schneider, just trying to live as normal Germans on the cusp of Nazi Berlin. The ultimate decision boils over in Julia’s “What Would You Do?” as do the emotions. Their acting and vocal skills are superb.
Stunning because Matthew Porter is the most appealing Cliff Bradshaw I’ve experienced in dozens of productions of Cabaret that I have seen, and because of the great chemistry with terrific Love Ruddell as Sally Bowles who shatters the roof with “Cabaret” and “Maybe This Time”.
Stunning because the set by Doug Miller, the Lighting by Crosby Slupe, the Sound by Karl Kasischke, the musical direction by Todd Schreiber, the choreography by Dom Glover, the Stage Management by Connor Raymond, and the costumes by Alexandria Szczotka are all perfect and work together to create a world of show business that is falling apart at the seams when the club lighting changes and you can see the runs in stockings and just slightly frumpy clothing in daylight. It’s brilliant work.
Stunning because we all know where the show is heading and when it gets there it still hits like a ton of bricks with lots of crying in the audience. I was surprised at how many people around me admitted they have never seen the musical nor the movie and by the audible gasps and audience reactions to some of the occurances on stage. Of course the 1998 version of the show (best known as the “Alan Cumming” version) is far darker than the 1966 original. It includes lots of adult content and while it is a great musical for teenagers on up, I would absolutely leave the kids at home. Not for them…yet.
And stunning because the incredible audiences at Croswell continue to suprise me with their open hearts and open minds. Except for a few older couples I saw leave at intermission (look, clearly the show isn’t for everyone with its references to politics, sexual diversity, and other adult themes and language) everyone sat rapt and thoroughly engrossed in what they were watching with an instantaneous standing ovation at the conclusion.
Bravo to Erica, the cast, the onstage orchestra, the entire creative team, and crew for an evening of unforgettable musical theater. This is what it’s about. This is what makes theater the love of my life, and as a bit of Musical Theater 101, this is one of those shows you should make an effort to go see, because it shook up the musical theater world in 1966, and it continues to do so today, as if it were written yesterday and we’re seeing it for the first time. That’s the magic of what live stage performances can do. And that is stunning.
Highest Recommendation.
Cabaret continues at the Croswell Opera House through September 22nd, and tickets are available at croswell.org or by calling 517-264-SHOW. Note that tickets are ONLY sold by Croswell and they do not use any third party resellers or ticket sites. Buy ONLY directly through Croswell.
“New World Comin’” opened at the Encore Musical Theatre Company in Dexter last night, and I can’t write a review. Because the show isn’t ready for reviewing. But that’s a good thing, because the show is a work in progress which is presenting its first staged workshop with an audience and there is a specific goal in mind: see what audiences think. What do they like? What do they not like? What works, what doesn’t work? This is so that future workshop stagings will change based on what the creative team sees.
That being said, this is a tuneful (mostly) musical about three women making a trek from Minnesota to NYC to go to a singing audition in the 60’s and it is filled with some well-known (and a handful of not well known) 60’s girl’s songs. The show looks fantastic on Sarah Tanner’s deceptively simple (though not) set, featuring Anne Donevan’s stage-crammed-with-props, a six-person cast that are all good, and a small-scale 3-person band under the direction of musical director/orchestrator/arranger Seth Farber. Written by Dayle Ann Hunt (Christmas Caroled), Directed by Terry Berliner and produced by New York-based Judith Manocherian and Joseph Romano (Brooklyn Heights Productions).
So instead of a review of the show, what I offer are likes and dislikes, and a few random observations. I love workshops. At Encore, they can range from the near-Broadway-ready “Into the Wild” to earlier works in progress. Count this in the latter category.
What I loved: The set and movement design of the show. Some of the songs. The cast overall. Mariah Colby in specific.
What I liked: the overall story and direction the show is heading (it’s not ready). The clever use of car-like movable platforms. The lighting.
What I did not like: Overall, too much is crammed into the 1:50 runtime of the show. Storylines develop then disappear, or don’t need to be there at all. The songs are generally well-integrated into the storyline but don’t always match the action. Some songs and scenes can be entirely cut. I am sure the creative team are well aware of these situations, but you have to “freeze” a show at some point for performance and then see what you get.
I also did not like some of the arrangements (sorry Mr Farber) and the overall pacing of the show is slow. Cut 15 minutes, get rid of the intermission, and speed up the tempos and much of that can be solved. Some of the songs lost their melody line, and I don’t think that was the performers fault since their harmonies throughout are very good – “Downtown” for example does’t have the vibrant melody line and is somewhat dulled. “Make Your Own Kind of Music” is too slow and doesn’t have the peppy upbeat sound we all know (and which was recently very front-and-center in Ryan Reynolds “Free Guy”). The entire “Colour my World” sequence needs work and judicious cuts.
But man, I loved seeing a new show. Yeah, it’s a work in progress. Yeah, it needs work as it progresses. But that is exactly what workshops are about. YOU as audience member get to step into the role of observing critic. You won’t be bored. You will probably talk about what you liked and didn’t like on the way home. And that is what makes a musical theater company vibrant and thrilling. (Oh, there were no bar codes on moon pies in the 60’s).
Do I recommend it? YES! But keep in mind this isn’t a well-polished “show” even if the wrappings look fantastic. It’s a workshop. And it’s fun to participate in that right in our backyard. I directed a workshop of author Dayle Ann Hunt’s Christmas Caroled some years back and it was so much fun! Music changed, scripts were changed even in between performances! FUN! And seeing a new show from the other side is also fun. Go check it out and see how new shows are put together and how difficult the whole thing is. The next time audiences see this show it will look very different. Because of workshops like this one.
“New World Comin’ a 60’s Musical” runs through September 22nd at the Encore Musical Theatre Company, 7714 Ann Arbor Street, Dexter, MI — tickets at theencoretheatre.org or 734-268-6200. Photo courtesy The Encore Theatre.
You don’t have to travel to the Stratford Festival to see an incredible professional production of Something Rotten – you only need go as far as Pinckney to have one of the most fun nights of your summer. But note: If you plan on attending, there are a handful of tickets left for tonight (8/31/24) and September 6th, otherwise the entire run of Something Rotten at the Dio is sold out through October 6th.
Written by movie writers/producers/songwriters brothers Karey and Wayne Kirkpatrick (Chicken Run anyone?) and the smartest person in England when it comes to history John O’Farrell, Something Rotten is the current show-du-jour nationwide. (It’s regional release came during the pandemic, then was pulled for a tour that didn’t happen, and is now available again for production).
The production at The Dio is everything you expect from this silly, hilarious, tuneful musical that was nominated for ten 2015 Tony Awards and won one (Christian Borle as Shakespeare). They celebrated with the greatest ad in NYTimes history:
Bottom brothers NIgel and Nick are a losing pair of brothers trying to compete writing plays during the reign of William Shakespeare (treated here like a rock star). This leads to a series of misbegotten attempts to outdo him via a sooth sayer who gets things only kind of right (though much of what he does get right is the funniest material in the show). The musical climaxes with a “Producers” style show-within-a-show tribute that mashes up Hamlet with, well, I’ll leave the rest to the viewer.
Steve DeBruyne directs and plays Nick Bottom, and he is outstanding in both roles. The direction is fluid and tight, and his Nick is a hapless but well-meaning hoofer-and-singer featured in several big numbers. Jordan Hayes-Devloo is terrific as bashful but talented brother Nigel Bottom. Maddie Ringvelski steals every scene she is in as Nigel’s love interest Portia, played with such hyper intensity that when she finally passes out at a party you’ll be relieved that she gets to rest for a few minutes in a chair. Brava.
Elizabeth Jaffe is just right as Nick’s perfect wife Bea, whether she is singing about being his Right Hand Man, or “disguised” as a man (such a clever writing convention by the authors, matching the types of things Shakespeare himself used to do). Griffin Krausse plays the Bard with all the bravado you might expect, and is especially funny when he goes into diguise to try to steal back his own future ideas (never mind, just go with it.) Dan Morrison is great as Quaker Brother Jeremiah, Keith Kalinowski made me laugh all night long as Shylock, and Richard Payton is larger than life as Nostradamus, the sooth sayer (fortune teller). The entire rest of the ensemble is superb and vocally stunning (Alexander Cousins, Cordell Smith, Aurora Renee, Xavier Sarabia, Antonio Vettraino, Hannah Thomas, Autumn SIerra, Donovan Leary, Lily Gechter, and Brendan Martin.)
Lisa Merte’s musical direction brings out clear choral tones and good diction; Michelle Marzejon-Green has created the largest dance numbers seen on the Dio stage, heavy on very good tap, Set, Lighting and Sound Design by Matt Tomich is pitch perfect for this production – and there’s a big surprise in store with his deceptively simple set as we reach the third act. Costumes by Norma Polk are bright, colorful and sometimes gorgeous. Eileen Obradovich does her usual excellent work with the massive number of props in the show.
I can’t say enough good things about this production. From a delicious Shakespearean England themed dinner, to one of the funniest shows you are likely to see in a long long time, it’s a perfect evening (or afternoon) of theater as a true art, written by some very smart people.
Very highest recommendation.
Something Rotten runs at the Dio through October 6th. For very limited remaining tickets order online at DioTheatre.com or best call (immediately) (517) 672-6009
First, stop reading, go to croswell.org and get Newsies tickets while there are still tickets left, then return here and continue reading.
Do you have your tickets? OK – proceed.
On rare occasion absolutely everything lines up the right way to create one of the best shows you have seen in ages. That is exactly what is happening right now at The Croswell Opera House with their production of Disney’s Newsies, which is in a word incredible.
Start with outstanding direction by Debra Calabrese that keeps the action flowing and always focused. Add the best choreography you could imagine from Jodi Hissong and strong vocal direction by Wynne Marsh (with a great orchestra conducted by Raymond Novak). Stir in a cast of dreams – every cast member is pitch perfect and in-step throughout. Pick your favorite Newsie and follow them for the evening – the many dances they are in, the perfect attention to period detail, the tap number, the athletic movement. Yeah. Perfection. Finally, put it all on Marty Flake’s set (Broadway designer Tobin Ost served as consultant) and the show looks and feels professional top to bottom.
Kevin Ludwig turns in a strong, powerful Jack Kelly with vocals that are to die for. A junior at University of Michigan’s Musical Theatre Program, keep an eye on him and see everything he is in while still here locally. Next stop, Broadway.
Elise Brown plays his novice-writer-romantic-interest with melodic clear diction in her tricky numbers and you actually find yourself rooting for these two to hit it off — when they do, the air is electric. Oh, and both leads sing, act, dance, and tap. Yeah, so there is that.
Other strong newsie performances are turned in by Ben Bascuk as Crutchie, Will DuPois as Davey and Olivia Grzebik as Les. You will have your favorites, and rest assured they all sing and dance with aplomb. The kids have the audience in the palm of their hands from their very first number, and by the time the taps come out in “King of New York” your hearts too.
The adult roles are also outstanding here — Phil Skeldon is spot-on as Joseph Pulitzer, Eboné Waweru is delightful as chanteuse Medda, John Lamb plays a liekable Teddy Roosevelt.
The basic storyline involves the newsboys who deliver Pulitzer’s paper in NYC. When he hikes the price the newsies must pay per paper they sell, a strike is on. Katherine is a young writer who picks up the story, gets it on the front page, falls in love with Jack, and with some twists and turns the plot thickens and the battle is on. The large production numbers are told in dance throughout the show – and Hissong has given then striking masculine athletic movements that mix ballet, modern dance, and gymnastics.
Therein also lies a conundrum – it’s a Disney show, so its family friendly right? That means I can bring the wee ones, right? NO – both the movie on which it is based and the musical are not written for young children. It’s adult fare that your 12 and ups will absolutely love, but leave the tiny ones at home — most won’t understand any of the politics, won’t be interested in the love story, and will squirm and wiggle throughout. If your child can’t sit still for two hours plus in their seat, then they are not old enough for Newsies.
Normally, when slight technical glitches appear, they usually appear on opening night – and that happened here with glitchy mics and a phantom mic-sound eminating several times during the evening (good luck trying to figure out which one of the 40+ body mics has gone rogue!) And lighting, while generally fine, is insuffient in scenes played on the second level – during a lovely scene between Jack and Katherine, there is shadow on faces, but things look great when they spot them for their song. Just put a spot on them for the entire scene. It gets lost at the back of the stage on the second level.
I can’t emphasize enough the talent that is involved in this show. When Croswell announced their season, Newsies was the show that of course struck every young actor’s fancy. When it came to auditions, Newsies was the show that drew the young folks in droves. The best of the best are on stage here. 15 universities are represented in this group of young singer/dancers and a dozen high schools as well.
Newsies is musical theater at its finest. It won Tony awards for Best Choreography and Best Score, and was nominated for 6 others. I loved Newsies on Broadway (more than any other show that season), I loved it on tour, I loved it when Fathom movies showed the stage production at movie theaters, and later loved it on Broadway HD. And I loved it at Croswell last night and give it my highest recommendation – not to be missed.
Photo courtesy The Croswell Opera House.
Newsies continues at The Croswell Opera House in Adrian, MI through August 18th, tickets at croswell.org or 517-264-SHOW only — Croswell does not use any third party sellers — do not be swindled through other outlets.
The family friendly Andrew Lloyd Webber/Glenn Slater/Julian Fellowes musical School of Rock opened at Croswell Opera House last night and erupted with cheers throughout as an amazing cast shook the rafters with music, laughs, and charm. Get your tickets now before they are gone.
So, let’s get the nitty gritty underway first. Yes, the kids play their own instruments. Yes they are good. Yes, Aaron Roos as Dewey Finn (the Jack Black part) is as good as any professional I have seen in the role. Yes, it all looks great and moves quickly on Doug Miller’s set, and Yes, primary kudos goes to musical director/conductor Adam P Miller for making it sound incredible.
Erin Pifer directs with a nod to making sure the jokes carry, and Lilly Buck’s choreography is crisp and clean and, should I say kick-ass funny at times.
Aaron Ross commands the stage and you simply can’t take your eyes off of him as he sings, dances, pratfalls, and even brings pathos to the role (as is required for it all to work) that made Alex Brightman a household name on Broadway. He’ll charm you from the getgo. Bravo. The show explodes with energy in “You’re in the Band” and you’ll be dancing and clapping along to the final strains of “Stick it to the Man.”
The work Adam P. Miller has done with the cast is outstanding. The kids and adults all sound great – the choral numbers are pitch perfect, and the instrumental work with the kids is quite incredible. The audience burst into applause with each of the kids instrumental performances. (Getting it all to blend with the pit orchestra is no mean feat – credit Chris Goosman for the sound design.) The physics of having that many body mics (not only on the cast but also the instruments onstage and the orchestra) did result in a few pops and blats here and there, which will get ironed out as the show progresses.
Lighting by Dustin D Miller is sleek and colorful, and costumes by Jen Brown are beautiful. Everything looks visually slick.
Other standouts include Maya Gangadharan as Principle Rosalie Mullins, whose vocals are lovely and who brings fine acting chops to a difficult role; a very funny Jared Freeman as the “real” Ned Schneebly; and commanding Amber Wilkes as Ned’s girlfriend Patty.
I have long ago learned never to call out child actors by name because of the jealousies that inevitably arise backstage – but let me just say that every one of them is spot-on perfect throughout. Guitar, Bass, Drums, and Piano are played live. Watch the large dance numbers – every move is perfect, nobody is out of step, everything looks slick and professional. You almost forget that these are pre-teens onstage. They get screams of approval from the audience, and deservedly so.
I saw the show on Broadway so I knew what to expect going into this production, And I must say I got even more than what I expected. It is a fantastic evening at the theater with a feel-good musical, a cast popping with energy, and an electric mood throughout.
Highest Recommendation.
Mild language. Runtime 2:50 including intermission. Photo: Croswell Opera House.
School of Rock runs at Croswell Opera House through July 21st. Buy tickets only through Croswell’s website at croswell.org or by calling 517-264-SHOW — beware third party ticket sales. Only Croswell sells authorized tickets.
John Patrick Shanley’s play (or in his words parable) DOUBT opened at The Dio last night, and it is 100 minutes of intermissionless acting clinic put on by four outstanding performers, well-directed, and well-paced.
Perhaps you’ve seen it before – or perhaps you’ve seen the movie – or perhaps you’ve never seen it. In any case, grab tickets now for this excellent production.
Sister Aloysius (a grand Amy Schumacher) hears a report from one of her young teachers, Sister James (delightful Ally Szymanski), that Father Flynn (charismtic Bret Beaudry) has taken a special interest in the parochial school’s sole 12-year old black boy. Her mind imediately “goes there” and the rest of the evening is an exploration of all angles of exploitation, guilt, assumption, rumor, gossip, conviction, and, well, doubt. When Sister Aloysius crosses the line and calls in the child’s mother Mrs. Muller (explosive Jacqui Blue) to prove her suspicions are true, another layer gets heaped onto the entire affair.
Who is right? Who is wrong? In the changing world of the early 60’s, are pre-existing notions of righteousness and inflexibility even valid anymore? Those and many other themes emerge over the course of the production, and you’ll have your own thoughts at the conclusion. In fact, most of the audience stayed and talked about their ideas after the show, which is the first time in a long time I’ve seen that happen at a local theater.
Steve DeBruyne directs with an assuredness that allows time to reflect in between scenes, and gives his cast the freedom to explore these roles in a way that makes each of them, initially a stereotype, have a very real human experience, no matter what angle they come at the problem.
So, did he do it? It doesn’t matter – and you will have your own thoughts – but the ability to revisit this explosive play is something we’ve been waiting for in the local theater world.
Schumacher in particular makes the role her own as Aloysius, and she commands every scene that she is in. There isn’t a weak link in this production, there can’t be. It is difficult to perform this type of material and as an actor not let your own thoughts creep into the performance — but that is exactly what doesn’t happen here. Each role is expertly played and gives away nothing. That is for you to decide. Or have your doubts about.
Everything looks beautiful, from staging to lights to props and costumes and the delicious pre-show meal — but this is an evening of drama (and some laughs) that will leave you thinking.
Highest Recommendation.
Doubt continue’s at The Dio in Pinckney through July 21st. Tickets at diotheatre.com or by calling 517-672-6009 — photo courtesy The Dio Dining and Entertainment.
I was at a Whitney Houston tribute concert last night and a play broke out. That’s the headline I wanted to use back in 2017 when I reviewed the touring production of The Bodyguard The Musical at Wharton Center, but honestly, I forgot, so I’m using it today. Opening last night at the Croswell Opera House and running through June 16th, the production is jam-packed with the hits you already know from the movie as well as a half dozen other greatest hits from Houston’s repertoire.
First of all, credit to artistic director Jere Righter for knowing her audience – which was ecstatic by intermission and fully singing and clapping along by the finale dance-along.
Second, credit professional singer/actor Arielle Crosby who fully nails the lead character, pop singer Rachel Marron. WOW! Just, wow. On stage practically the entire evening, she excels at both ballads and large concert-staged numbers but makes the role fully her own. (I have to admit, there is a big shadow of Whitney Houston in the back of your mind throughout the show).
Anjewel Lenoir, who I initially didn’t recognize because she makes her part so unique, plays her jealous sister Nicki. If you’ve seen the movie, you know how that turns out. Her part is increased in the musical and her musical numbers are just as pow-bam-in-your-face as Crosby’s. When they sing together (Run to You) it is musical theater heaven.
Steven Kiss plays Frank Farmer (the Kevin Costner role) and he has big shoes to fill here and does so very well — though the Steve I know comes to life in the finale dance-along. (I recall it being pretty much the same in the tour).
King Brinson is terrific as Whitney Houston’s (I mean Rachel Marron’s) son. The entire rest of the cast sings, dances, play multiple roles, and are truly terrific performing Sarah Nowak’s picture perfect backup singer/dancer choreography. Josh Glover conducts the often on-stage orchestra with special kudos to Jann Battersby after all these years getting a sax solo in a spotlight moment. This entire cast, crew, and orchestra has talent to spare. Conner Raymond performs his ever-efficient stage management and Director/Vocal Director Michael Yuen makes everything click and buzz. He has a firm grasp on this show – what it should look like, how it should move, and where it should barrel along and where you can slow down a bit (this is done on purpose – some scenes are expanded and slowed down just to allow the actors time to breath and change clothes before heading into the next big production number. If I have one complaint about the actual script, there is a sequence in Act 2 of clunky dialogue that has three lines, blackout, three lines, blackout, three lines, blackout, three lines blackout, before finally getting back into groove. There is nothing wrong with this production – that’s bad script-writing.)
The set looks fantastic with its cyberlights, smoke columns, beams of colored light, and projection. There’s a nifty invisible backdrop that flashes different colors throughout and adds to the real-concert feeling. Marty Flake designed the sets, Rachel Slupe did wonders with the light design, Karl Kasischke designed the way way complicated sound and projection design, Sabriyah Davis designed the costumes which gleam and sparkle and change colors and come and go and oh my, what a job here.
But back to Arielle Crosby — that voice. That sound. That relationship to her audience. Go see this show and revel at the talent, but then take a moment to appreciate what Crosby does with her vocals and you’ll be flying on the way out the door. No surprise she got an immediate standing ovation.
Here’s the honest truth – as a theater-goer, I absolutely love this show – both here and when I saw the tour. As a critic, I have to say the material itself (like the movie) isn’t really that good but it keeps you interested and ties together all the elements. You know the stalker who wants to kill Rachel is going to get the bodyguard treatment eventually. You know all the “big moments” from the movie are here (along with the stilted dialogue which even Kevin Coster looked like he was choking on in the movie). But that’s not what this musical is about. It’s about some of the hottest songs in the pop rock repertoire. It’s about an incredible performer making her movie debut then, and an incredible performer creating an exciting stage performance here now. Go. Enjoy. Bring your friends. It’s generally family friendly (although there is some light use of colorful language and adult situations and some kids might be scared by the scary stalker). There were still gasps at one point when something happens that movie lovers will remember but first timers don’t see coming. Credit Michael Yuen for those moments. And two nifty uses of a green stage laser.
Highly Recommended. Don’t hesitate to go see this. Photo, Croswell Opera House.
The Bodyguard continues through June 16th. Tickets at Croswell.org, or 517-264-SHOW. Buy tickets directly ONLY from Croswell. There are no third party authorized sales venues. Buy online at their website or by calling the box office.
One of the things you don’t expect when going to the theater to see an 80-year old musical comedy is that production to feel as fresh and new as a bright golden haze on an Oklahoma meadow. Yet that is what you get in Encore Musical Theatre Company’s Oklahoma! — the 1943 Rodgers and Hammerstein musical that set a new standard for integrating music, drama, story, and dance. There’s a reason this classic musical has been passed down through the decades, and that reason is on stage right now at Encore.
This musical continues the collaboration between Encore and the University of Michigan’s Musical Theatre program – call it SMTD’s “summer stock north.” But it is far crisper and cleaner than any summer stock you will see anywhere because of the long rehearsal period, and a cast that trusts each other intimately. Lots of these folks will soon be on Broadway guaranteed – so see them here first! (You’ll recognize some faces from the recent musicals at Power Center and the Lydia Mendelssohn).
Start with two incredible leads — Jason Mulay Koch is the best Curly I have ever seen. Yes, he’s better than Hugh Jackman’s rendition. He sings, dances, and acts with perfection. Aurora Penepacker is an ideal Laurie. You genuinely feel for these two in their teasing romance of two people long in love without being able to say so to each other; so they dance around it exquisitely.
Add a secondary pair of terrific singer/dancers with Maddie Dick’s hilarious comic timing as Ado Annie, and high-stepping shit-eating-grinned Anderson Zoll as Will Parker. Cody Dent is wonderful as Ali Hakim, the comic center of their love triangle in which the ultimate outcome is broadcast before any of them even appear on stage.
Supplement this with a strong, spunky, and funny Julia Glander as Aunt Eller, a very funny Keith Kalinowski as Ado Annie’s father, and David Moan as the most remarkable Jud Fry you will ever see. Local audiences have never seen Moan play a role like this, and he is incredible. Infusing his part with loneliness, anger, and mental instability, you can see why Aunt Eller had the heart to take him in all those years ago in the first place. Setting into motion the evening’s dramatic arc, Moan is simply astonishing. I am returning to see the show a second time partly to watch him again.
The entire cast is on point throughout the three hour production. (1:40 first act, 20 minute intermission, and 55 minute second act. You know, the way classic musicals do.)
Singing, Dancing, and performances throughout are exactly what you expect from folks in the finest musical theatre program in the country.
Dan Cooney directs with a fresh approach that keeps things moving swiftly and fills the stage (and at times audience) with joy. R Mackenzie Lewis’s musical direction highlights these voices and their perfect diction, and he conducts the 14-piece onstage orchestra which is lush and gorgeous and the concept here works wonderfully — and allows for a full orchestra in the limited space. Everything is beautifully lit and sound is excellent. Props and costumes are pretty and era-appropriate. Amy West’s choreography is exuberant, energized, tap-infused, and lovely to watch in solos, pairs, small groups, and sometimes the entire ensemble. Laurie’s Dream Ballet is focused and emotionally charged. Everything comes to life on Shane Cinal’s stunning wood set. He has found a way to bring Oklahoma to life without the clunky wagons of scenery often used in this show, yet designing a sense of place that is always present. Lights and scenic design work hand in hand here to create a world you will cherish and feel like you are part of.
Normally I try to include everyone’s name in my reviews, but quite frankly this production is so big I can’t list everyone in the review. Go see this show. Read the program. Look at who’s who. Read the bios of the cast and the production staff. Take a look at the enormous wealth of talent and the gift that these people are giving our local theatre scene.
Oklahoma! is family friendly although younger visitors will find their attention straying – this is a musical for adults. It takes it’s time leisurely getting you from point A to point Z. And I wouldn’t want it any other way. A+ my highest recommendation.
Oklahoma continues through June 30th. Tickets at theencoretheatre.org — 7714 Ann Arbor Street,Dexter, Michigan 48130 (734) 268-6200
Mostly Musical Theatre 
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