Be sure to read about my pick for the Must-See production of SummerWorks ’13 as well as Part 1 of everything else. I was warned that Murderers Confess At Christmastime is incredibly disturbing. And it is. But it’s far more accessible than I was expecting. Generally with boundary-pushing theatre I find that you can be […]
In my opinion, Parade, as a text, is a grand achievement in musical theatre. The fact that it is only Jason Robert Brown’s second (arguably third) best work is therefore astounding but we’re not here to discuss the composer or Alfred Uhry’s book (again). StageWorks Toronto was coming off of Urinetown when they chose Parade and […]
The two most recent productions in Soulpepper’s 2013 season have been lively re-interpretations of texts that can only be described as classics. The first, Michael O’Brien and John Millard’s anachronistic take on Rossini’s The Barber of Seville, was a goofy romp-like good time and little more. The sublime pleasure of having the great Dan Chameroy […]
I have unrealistic expectations for Assassins. It is easily one of my favorite shows, falling behind only Into the Woods as my favorite Sondheim. I know how odd that makes me, as a person and a theatre aficionado, and I give you free reign to judge me. F.U.D.G.E. Theatre Company’s production of Assassins has some […]
Reagle Music Theatre of Greater Boston presents their Fiddler on the Roof, billing the production as “Scott Wahle in Fiddler on the Roof”. Wahle does an adequate job in the iconic role of Tevye, a Jewish milkman in the poor town of Anatevka. However, the real heart of the production comes in the surprises from […]
Cats may just be the most-mocked musical in the history of the world. But it’s also one of my favourites. First of all, Andrew Lloyd-Webber, once upon a time, was a uniquely magical composer capable of creations that were both lastingly beautiful and bizarrely unique. His best work will always be, and has always been, […]