Othello: The Remix @ The Westside Theater (Upstairs)

In recent seasons where hip hop seems to be dominating musical theater, The Q Brothers’ Othello: the Remix fits right in. But these brothers are no strangers to infusing the style into their work.  In the past decade and a half, the production group has created several hip hop adaptations of Shakespeare’s most famous works: The Bomb-itty of Errors, Funk it Up About Nothing, Q Gents, and I <3 Juliet have been produced around the country and Off-Broadway. John Leguizamo’s presentation of Othello the Remix brings the Q Brothers back to New York.

The re-imagining presents Othello (Postell Pringle) as a hip hop mogul, about to embark on a cross country tour to promote the new album for pop-rapper Cassio (Jackson Doran). Fellow artist Iago (GQ) feels betrayed to be the “opener for the opener” on the tour, and sets out to get revenge by ruining Cassio’s career and Othello’s new marriage. Though the plot is modernized, Shakepeare’s themes of jealousy and betrayal are still very apparent.

The Q Brothers incorporate a unique style of comedy into their work. Like a sketch group, there are many characters played by the company of four actors. Wigs, shirt fronts, and hats are used to differentiate the characters. Like an improv troupe, the actors break the fourth wall and make out-there jokes that incite heavy laughs. But where they differ: they do all this in the middle of catchy beats and smart rhymes, just like a hip-hop crew. Move over Hamilton, looks like you have some competition.

JQ stands out as the character actor of the production. In 80 minutes, he becomes tennis-obsessed record producer Loco Vito, Rosie Perez-like groupie Bianca, and lovesick Dungeons & Dragons player Roderigo. Doran’s Cassio is an endearing comic relief: the guy you want to laugh at and feel bad for at the same time. GQ’s Iago is earnest and jealous; he’s the puppet master villain who you almost want to see succeed. Pringle carries the show as leading man Othello, and your hearts breaks right along with him.

Equal parts Shakespeare, Hip hop, and sketch comedy doesn’t sound like a formula that should work. Oh but it does. Even the elderly ladies in the front row were raising the roof.

Othello: The Remix performs at the Westside Theater.

Review By: Kelcie Kosberg
Photos By: Carol Rosegg

Reliving the Memory: Cats at the Neil Simon Theatre

The original 1982 production of Cats was a game-changer for the Broadway musical. It was one of the first mega-hits of New York theatre, and quickly became the must-see musical. The run lasted nearly 18 years, and held the title of Longest Running Broadway Musical for some time, and you know what? With good reason. The concept was simple, the intent was sweet. Based on TS Eliot’s 1939 poetry collection “Old Possum’s Book of Practical Cats,” which introduces an array of feline characters, each with their own unique attributes. Add a show-stopping score from Sir Andrew Lloyd Webber, memorable choreography by Gillian Lynne, and lauded direction from Trevor Nunn, and you’ve got a recipe for a hit.  It was a musical that appealed to a wide audience: seasoned theatergoers and new young audiences alike flocked to the Winter Garden to see Cats. It was a production audiences would see multiple times, which until then was not common. After winning 7 Tonys and giving 7485 performances, it became a beloved, iconic piece of musical theatre.

& now, its back!

When I was 8 years old, my mother took me to the Winter Garden for my first Broadway musical. That performance of Cats has stayed with me to this day. The cats coming into the audience and one of them rubbing its head on my knee.  Mungojerrie and Rumpelteazer’s double-cartwheel. The cats using their findings in the junkyard to dress up as dogs. Victoria, the white cat’s solo that I tried to recreate in my living room for months after seeing the musical.  So when it was announced Cats was making its return to Broadway, I pounced (no pun intended).  Cats was responsible for my falling in love with theatre. I had to relive the ‘Memory’ (pun absolutely intended). 

The new Broadway production of Cats now lives in the Neil Simon Theatre, once again under the direction of Trevor Nunn, with new choreography by Andy Blankenbuehler, holding true to the original work by Gillian Lynne. The junkyard set was just as I remembered it, now stretching throughout the theater into the mezzanine. When the overture began and the glowing green eyes started appearing in the aisles, an eruption of applause began, and I realized I was not the only one reliving the beloved theatre experience of The Jellicle Ball. 

Broadway revivals will commonly reimagine the original production, with new staging or concepts, like when the West End run of Cats last year updated Rum Tum Tugger from the Elvis-esque character to a hip-hop star; too much criticism from the purists. However, I was pleasantly surprised to find Nunn kept this production nearly identical to his original (giving us back the well Rum Tum Tugger we know and love). A smart move by the director, as there are so many iconic moments and beloved nuances. 

Nunn’s changes are few but subtle, and they work well. He simply enhanced the theatrical experience by utilizing the advancements in theatrical technology, showcasing the incredible dancers of our generation, more props, more bells, more whistles. 

Before, “Bustopher Jones: the Cat About Town” was a throwaway number about a fat cat. Now we get to see the fat cat (played by Christopher Gurr) dining in restaurants and clubs, which is much more interesting to watch. The deletion of the arguably racist song “Growltiger’s Last Stand,” is another smart move by Nunn, who now utilizes “The Awefull Battle of the Pekes and the Pollicles” as Gus the Theatre Cat’s (once again Gurr) return to the stage. Even then, there still is a questionable line from Gus, which Jellicle right-hand cat Munkustrap (Andy Huntington Jones) plays off in a very similar fashion to the way you say “Don’t mind grandma, she’s from a different time.”  Production numbers that were always regarded as show-stoppers, like “Mungojerrie and Rumpelteazer” or “Magical Mister Mistoffelees” have somehow been made more impressive with Blankenbuehler’s new choreography. I got my fix of the double cartwheel, but Mungojerrie (Jess LeProtto, of Newsies and So You Think You Can Dance fame), and Rumpelteazer (Shonica Gooden, fresh from mega-smash Hamilton) showed off so many more impressive tricks, I was reminded why that was always my favorite scene.  So You Think You Can Dance winner Ricky Ubeda is given the opportunity to show his incredible range as a dancer as Mister Mistoffelees, in a number that includes several dance styles, more magic tricks, and a noteworthy update to the light-up jacket the character has always been known for. 

British pop singer Leona Lewis makes her Broadway debut as Grizabella the Glamour Cat, the role which made Betty Buckley famous and introduced the world to probably the most well-known Broadway ballad of all time, “Memory.” It seems an odd choice to have the old, washed up cat played by someone so young and beautiful, and Lewis at times seems a little too well put together to be a cat fallen from her prime. It sometimes shows that Lewis is not a “theatre performer” in the way she moves onstage, but it works for the character, who supposed to be out of touch with the other cats. Lewis absolutely delivers with her vocal abilities, getting a roar of applause during that iconic key-change in “Memory.”  What at first seemed like an odd casting choice now made sense.  

I went into Cats looking to be reminded of fond memories, and I was. I was reconnected with familiar characters and scenery that brought back the same feeling I had seeing the show at age 8 with my mother. And then, in the seat in front of me, I spotted a young girl around age 8 with her mother, and every time a cat would come up and interact with her, she would squeal with delight. And then it made sense as to why Cats, a musical that is literally about a group of singing and dancing cats, has become so adored by audiences  now for 34 years; because there is a certain magic to it that you can’t help but enjoy yourself. This revival reminds old fans why they love it, and allows new fans fall in love with live musical theatre.  

                Cats opened at the Neil Simon Theatre on July 31, 2016

Review By: Kelcie Kosberg

Photos By: Christophe Ena

Row After Row @ New York City Center Stage II

For over 35 years, the Women's Project Theater has placed its focus on producing plays written and directed by women.  Even though an overwhelming 67% of Broadway audiences are female, a mere 20% of those plays produced are written or directed by women (Linda Winer, Newsday). In its history, the WPT has given an outlet for women theatre artists to showcase their talents, in lauded productions as Bethany, How the World Began, and Jackie.

Row After Row begins after the successful reenactment on the 150th anniversary of the battle of Gettysburg, childhood friends Cal (PJ Sosko) and Tom (Erik Lochtefeld), find "their table" occupied by an unfamiliar face, Leah (Rosie Benton). As Tom kindly invites Leah to share a drink with them, Cal promptly begins a heated debate with Leah that she is challenging their tradition, in both taking their seats and playing a (poorly uniformed) soldier. Action weaves between the present and the battle itself in 1863, showing that women testing their "traditional" roles is no new concept.

Rosie Benton's Leah is the cool-without-trying woman we all probably knew at some point in our lives. Her nose ring, delicately messy hair, and past as a modern dancer, along with the attitude that her life can be whatever she wants to make it, gives her the personality of the effortlessly confident woman so many strive to be. She states that "history is just that, his-story" and why shouldn't she be able to experience it for herself? In a touching monologue, Leah describes playing a soldier as "more fun, and more sad" than she could have ever imagined. Alternately, her 19th century persona disguises herself as a soldier in a plan to "suck the anger-- and hunger-- and homesickness" of each man by kissing each one late each night. Both of these women use their uniquely feminine qualities as tools to defy gender roles.

Although Tom and Cal are best friends, they are the definition of polar opposites. Cal's brash and sometimes chauvinistic attitude is balanced by Tom's soft-spoken nature to keep things as "PC" as possible. These traits are apparent in their past-life characters as well; Cal is the traditionalist general, Tom the deserter. The presence of the mysterious woman in both scenarios have the men questioning their intents and responsibilities.

Jessica Dickey's play, directed by Daniella Topol, has an interesting commentary on social issues that have been present for centuries. We realize feminism is not a new concept, and sometimes all it takes is a chance meeting with the right person to put everything into perspective.

Row After Row  runs through February 16 at the NY City Center's Stage II.  

Photo by: Carol Rosegg
Review by: Kelcie Kosberg

Beautiful: The Carole King Musical

Bio-musical Beautiful: The Carole King Musical tells the story of the life and career of legendary singer-songwriter Carole King leading up to the release of her groundbreaking album Tapestry. Having been raised by a divorced mother, Carole (then) Klein entered college at age 16 to study for a teaching degree. However, a talent for music brought her to the Brill Building where she sold her first song and began a renowned career. After meeting and quickly falling for writer Gerry Goffin, the two teamed up to write some of the 1960's most famous songs, including "Will You Love Me Tomorrow," "Take Good Care of my Baby," and "The Locomotion." Their relationship progressed quickly; Carole soon found out she was pregnant and married Gerry at only 17 years old. As the pair's careers went steadily uphill, the romance began to falter. Gerry's adulterous ways and wavering mental health often left Carole alone with their two daughters. After divorcing Gerry in 1968, Carole used experience to inspired the songs that she went on to perform herself for the album Tapestry, which became the greatest selling album of all time, and earned four Grammy awards.

Onstage, King's life makes for the perfect jukebox-musical. Each song is more lively and colorful than the last. Derek McLane's scenic design is always moving, transforming from a Brooklyn apartment, to the offices and recording studios of the Brill Building, to the set of a Variety show. As each new song is written, the world changes into a colorful and energetic concert. With Peter Kaczorowski's rich light design, Alejo Vietti's versitile costume design, the production became an experience. Most notably, Josh Prince's choreography took the familiar, yet simple, steps of the 60's pop groups and put a fresh, modern spin on it.

As Carole King, Jessie Mueller is the "Natural Woman" for the role (pardon the pun). The quality of Mueller's voice matches King's distinct rasp so well you'd think it was the singer herself. She leads the production with an earnest humility that truly conveys the pain and strength of King. Jake Epstein, as Gerry Goffin, faded in and out onstage. Despite his smooth vocals, he clearly was not able to not quite keep up with the rest of the main cast.

There will always be a niche market for musicals such as these, the kind that can remind audiences of the memories of younger years associated with the already famous music. There wasn't a single song that didn't elicit murmurs of "Such a great song!" and humming along from the audience. Curtain call brought the entire audience to its feet, clapping and singing along with "I Feel the Earth Move." This is definitely the show you take your parents to when they're in town, and may even give Jersey Boys a run for its money in terms of popularity. Beautiful truly lives up to its name, and is a sight for all generations to enjoy.

Beautiful: The Carole King Musical, opened January 12 at the Stephen Sondheim Theatre. 

Photos By:  Joan Marcus
Review By: Kelcie Kosberg

A Gentleman's Guide to Love and Murder @ The Walter Kerr Theatre

In recent seasons, Broadway has seen a lot of musicals based on popular movies or revivals of classics, so when an unfamiliar story comes across, people are bound to take notice. Housed in the beautiful Walter Kerr Theatre, A Gentleman's Guide to Love and Murder, a new musical based on Roy Horniman's 1907 novel, Israel Rank: the Autobiography of a Criminal has something for everyone: comedy, romance, and as the title suggests, homicide.

A Gentlman's Guide begins with an ensemble of mourners dressed in black warning us that "those with weak constitutions" were better off leaving. We then see an almost play-within-a-play; a smaller, vaudeville-esque stage with lush curtains is the main focus as protagonist Montague Navarro (Bryce Pinkham) narrates his tale. Monty finds out soon after his mother's death that he is actually a part of the prestigious D'Ysquith family, and is in fact ninth in line to be the Earl of Highhurst. In order to win the attention of the beautiful (yet snobbish) Sibella (Lisa O'Hare), Monty devises a scheme to “off” the remaining D'Ysquiths and claim the title of Earl, and even catches himself falling for the demure Phoebe D'Ysquith (Lauren Worsham). The action is shown in a series of vignettes , helping to create the play within a play motif.

Credited as "The D'Ysquith Family," Jefferson Mays makes an impressive performance as all eight victims. His distinctions between each character were so remarkable, it takes a few deaths to even realize they're all him. From the effervescently effeminate Henry D'Ysquith to the outrageous drag of Lady Hyacinth D'Ysquith, Mays' performance needs to be seen. The entire cast, ranging from seasoned veterans and those making Broadway debuts, make up an ensemble that is extremely strong despite its small size.  Alexander Dodge's artfully crafted set, along with Aaron Rhyne's striking projection design steal the show. And although at times Robert L Freedman and Steven Lutvak's score felt like it was somewhat repetitive, audiences walk away humming tunes like "Why Are All the D'Ysquiths Dying?" and "Better With a Man."

Entering the performance, based on advertising and even from the impression of the opening number, I was expecting a very dark, macabre musical. However despite the warning, those with "weak constitutions" needn't fear: think less Sweeney Todd and more Thoroughly Modern Millie with a taste for blood. A Gentleman's Guide to Love and Murder could be, dare I say, perfect for a night out with the family: appropriate enough for tween audiences with the right amount of adult themes. It is a delightfully bloody tale that should be taken notice of.

A Gentleman's Guide to Love and Murder opened on November 17 and currently plays at the Walter Kerr Theatre.  

Photos By: Joan Marcus
Review By: Kelcie Kosberg

Murder for Two @ New World Stages, Stage 5

        Why is it that every murder mystery is set in New England? Why does the detective himself always have his own dark secret? Why are there always questions but no answers?

            In the intimate space of New World Stages, musical mystery duet Murder For Two keeps us all guessing "whodunit" in a case of the murder of a scandalous novelist who has secrets on everyone in his normally sleepy small town. A simple set, with a bare back wall, two small doors, some "Clue"-esque murder weapons, and a Steinway center stage, becomes the surprise party that quickly develops into the scene of the crime.

            Jeff Blumenkrantz, equipped with not much more than a pair of glasses and a raised eyebrow, almost magically transforms into every guest of the party - the main suspects. From suppressed wife Mrs. Whitney, sultry ballerina Barette Lewis, and over achieving niece Steph, Blumenkratz makes each character so distinct that often you forget most of the time he's talking to himself. As officer (wannabe detective) Marcus, Brett Ryback embodies the spirit of the song-and-dance style of Old Broadway. Ryback gives us a leading man reminiscent of Seymour Krelborn; you want him to pull through because you feel kind of bad for him. Marcus shows off his knowledge in a song on the "Protocol" of being a detective while "accidentally" calling the chief.  "You've been listening this whole time?" he squeals. "How embarrassing!" Both actors remain onstage for the 90-minute length of the show, with so much energy they could give all those Newsies a run for their money.

            What's most impressive about Murder for Two is how well in-sync everyone is with every detail. Blumenkrantz and Ryback switch off playing piano so seamlessly, even performing an intricate duet with both their eyes shut. Jill BC DuBoff's sound design employs sound effects timed so well they feel natural. Jason Lyons' primarily green-and-purple lighting, changes so subtly creating a new scene immediately. The production is so well-rehearsed that it comes off spontaneous, and that's no easy feat, especially with how often the fourth wall is broken. The audience is addressed as "Lou," Marcus' partner. An unsuspecting patron is brought onstage to participate in a death scene. Even better, the actors were able to work through breaking character onstage (then again who wouldn't find the sultry ballerina playing the piano with her foot hilarious?).  It is very apparent this production has been a labor of love, based on how effortless is all comes off. It makes for a better experience as an audience member when it's clear how much those involved in the production are enjoying themselves.

            Murder for Two gets it right, because of how self-aware it is; we are allowed to indulge in just how ridiculous musical comedy can get through clever wordplay and snappy dialogue. Mainstream Broadway is satirized (a choir boy names examples of things he's seen worse than murder, stating "We saw a show called Mamma Mia!"). A dramatic scene ends with "Hatcha! Whoopee! Jazz!" a la Chicago. And in possibly the best anti-cell phone announcement, homage is paid to Patti Lupone's infamous show-stopping Gypsy meltdown.  At one point, a suspect notes that in addition to the murder, "We've already seen the slow, painful death of the American Theatre." On the contrary, Murder for Two is one of the most original pieces I've seen in quite some time, ironically, bringing life back into musical theatre. Many of us walked out of the theatre still laughing from a truly entertaining and memorable piece of work.

            Murder for Two began performances at New World Stages on November 6, and has extended its run from January 5 to March 16.

Photo's By: Joan Marcus
Review By: Kelcie Kosberg

Big Fish @ The Neil Simon Theatre

Sometimes, life's stories can be more extraordinary than any fairytale. Big Fish gives account of the tall-taled days of Edward Bloom (Norbert Leo Butz), a man whose life seems to come out of a story book. Although Will's(Zachary Unger as the child, and Bobby Steggert as the adult) mother Sandra (Kate Baldwin) and wife Josephine (Krystal Joy Brown) indulge in the truth of Edward's fanciful tales, Will refuses to believe until he can uncover for himself what is real and what is fantasy. What results is the manifestation of all of Edward's best memories woven into present day to show us that in fact, "The ones who face their fears lead the most interesting lives."

                Butz is the true definition of a Leading Man. His presence is commanding, and with a velvety voice and ease in dance, you don't want to take your eyes off of him. Even more impressive was his ability to seamlessly transform his age from an elderly man, to a teenager, to an adult, and back again within a matter of moments; I'm not even sure how old Butz really is he transitioned so well. The same goes for Baldwin. We get to watch Sandra gracefully change from girl to woman, all while being lucky enough to hear her beautiful voice ring out. Bobby Steggert(Older Will) stands his ground with the heart wrenching performance of a son struggling to believe in the man he has looked up to his entire life.

            From the very moment the lights came up, the stage is flooded in rich beautiful color; Julian Crouch's scenic design transforms from a dark forest to a warm, modest household to bright USO show. William Ivey Long's costume designs could be considered their own characters with dresses becoming swaying trees and crackling campfires, men turning into giants, and women into mermaids.  From Ashton, Alabama to Central Park, to the Calloway Circus, each new world is more fantastic than the last. Use of projections made the impossible a reality, and technical aspects including a stage full of daffodils and dancing elephants made it a spectacular. Andrew Lippa's bright score and Susan Stroman' s exciting choreography are reminiscent of the classic Golden Age of Broadway with big production numbers ("Be the Hero") to tear-jerking ballads ("I Don't Need a Roof"). Together, everything blends to make a fresh, modern take on the classic Musical Theatre structure. 

            Many will notice that although the story is still from Daniel Wallace's novel, it is not the same as the Big Fish we know from Tim Burton's film. On screen, the life of Edward Bloom was much darker and oftentimes more like a fable, whereas onstage it's closer to a fairytale. In my opinion this was a smart move by John August, who penned both the screenplay and the musical's book. The bright version of Big Fish for stage is energetic and engaging, which is needed for a piece of musical theatre to be successful. Many shows that come to Broadway now are inspired by films, so oftentimes it can be difficult to stick out and be memorable. Where Big Fish gets it right is its ability to stand as its own piece of theatre, you don't need to be a fan of the movie to fall in love with the piece on stage.

Big Fish opened October 6 and is now playing at The Neil Simon Theatre. 

Review By: Kelcie Kosberg

Mr. Burns, a post-electric play @ Playwrights Horizons

If you're like most people, you're reliant on your technology. Going even an hour without your smart phone feels like an eternity. If you miss the latest episode of Breaking Bad, there's nothing to talking to your coworkers about come Monday morning. Imagine if our technology-based society was suddenly left without electricity, the precious power we rely on so heavily. Set in a not-too-far-away Post Apocalyptic America, "Mr. Burns, a Post-Electric Play," which opened September 15, gives an insight on just who we've become, as well as what we could be.

Act One shows the immediate aftermath of Nuclear Power Plants shutting down, leaving no power, and a large part of the population killed by excess radioactivity. We meet a small group of strangers, survivors who have come together to find lost love ones. To keep themselves entertained, they are retelling the "Cape Feare" episode of The Simpsons. It's not a perfect reenactment, with Matt (played by Matthew Maher) drawing blanks and spitting out "Oh I know this is really funny!" but nevertheless, spirits are kept up. That is, until another survivor arrives. At this point it is hard to tell if anyone is an ally or an enemy. Act Two fast forwards to seven years later, still no power, but society seems to have gone on. Troupes of re-enactors battle for the best "episodes" of beloved, long missed shows. Remembered lines have become a commodity, and live "commercials" try to get  us to remember how much we miss drinking Diet Coke, taking hot baths, and listening to Britney Spears (as troupe member Susannah [Susannah Flood] states, 'We have an opportunity to provide meaning'). A sudden, fatal stand-off brings us to intermission.

At this point, I wasn't quite sure what I was watching; the first two acts are very vague in explaining relationships, and what exactly has happened to lead up to this point. It wasn't until an older woman sitting in front of me turned around and we began to have a conversation (she asked I didn't use her name) that things began to make sense. She pointed to her husband next to her and told me, "We grew up through World War II, so we've seen exactly how people have changed over the last few decades. People have become so glued to their devices they've forgotten about true beauty. The smell of the trees, the sound of leaves crunching under our feet. Now it's only the superfluous stuff that matters. I'll walk onto an elevator, and say 'Good morning!' to the people on there. They all then pull out their headphones and give me confused looks because to them I didn't say anything important." At that moment, Mr. Burns' message became painfully clear to me. Have we become so invested in the "superfluous stuff" that we've gotten so out of touch with the beauty in simplicity? Or basic human interaction? Even as I spoke to her, I felt the need to check my iPhone and see if I had any new Facebook notifications or if any celebrities had tweeted anything interesting, even though I was in the middle of one of the most insightful conversations I'd had in quite some time.

Act Three brings us even farther into the future, 75 years to be exact. Electricity seems to exist, but only by means of man-powered generators, so it is still very limited. The Simpsons are still being re-enacted, however it's not the family you and I are familiar with now. Masked performers give us an almost tribal music-based rendition of that same "Cape Feare" episode. Based only on the memories of past actors, the once comedic cartoon has become twisted into a dark piece of performance art, laced with bits of pop culture from the past (including Eminem, The Flintstones melody, and the haunting theme of the Halloween movies). Bart Simpson (Quincy Tyler Bernstine) has become a young hero, singing ballads about overcoming obstacles and avenging the death of his parents. Mr. Burns (Sam Breslin Wright) is now an evil villain with a poison touch, along with doting sidekicks Itchy and Scratchy (Flood and Maher, respectively). After the villain is slain and the hero lives to see another day, the company remove their masks to end their show with a song about "being a true American."

As the lights came back up, I said good bye to the woman in front of me, gathered my things, and walked back into reality to see the swarms of New Yorkers with their eyes fixed onto their phones and tablets. What would happen if all of this was suddenly taken away from us? What would remain? If Mr. Burns, and my intermission companion have any indication, it's human interaction and our ability to create art. To be able to convey our emotions through music, and in turn inspire others. Who knows? In 75 years, people may be singing Britney Spears' songs like we do with Frank Sinatra now.

Mr. Burns, a Post-Electric Play is produced by Playwrights Horizons and runs through October 20.

Review By: Kelcie Kosberg

Pippin @ The Music Box Theatre

                  

                 Just over 40 years after its original run, Pippin makes a colorful return to Broadway for 2013, with a fresh new look. Set in a circus tent, the production takes a magical new twist to the classic musical. With illusions, tricks, stunts, and acrobatics throughout the show, it is an experience that feels both relevant and modern. This new production pays homage to its roots, with choreographer Chet Walker (a cast member  of the 1972 production) recreating Fosse's original choreography. However it still feels fresh, current, and original with the addition of circus director Gypsy Snider's phenomenal visual feats. The Players are made of equal parts dancers and acrobats, so there is always something incredible and beautiful to look at onstage. It wouldn't be Pippin without the signature "Fosse style" of dance, which now almost looks like it was made to go alongside trapeze artists and contortionists.  "The Manson Trio," one of Fosse's most well known pieces of choreography, is recreated in its entirety, but now instead using male dancers behind the Leading Player. Every single moment contains outstanding visuals, with Players performing amazing acts unlike those seen on the Broadway stage before. Trapeze work, Aerial Silks, lifts, and flips are woven into the classic choreography to create beautiful imagery for the stage.   

               Pippin's main cast, made of both Broadway Mainstays and Newcomers, are what brings the production together as a whole. Matthew James Thomas(Spider-Man: Turn Off the Dark) is an extremely likable Pippin. He brings a humble quirkiness to the character that makes one fall in love with him almost immediately, and  his pop-style vocals give an unique twist to Stephen Schwartz's score. He is just awkward enough that it is endearing, stumbling and stammering his way through the first act, and the audience bursts into cheers once Thomas reveals serious dance skills early in Act Two.  Although it is not a new concept, Patina Miller(Sister Act) shines as the Leader Player, a role usually portrayed by a man. She commands the stages from the moment the words "Join us" leave her lips at the top of the show. Miller's ease onstage is reminiscent of Ben Vereen's portrayal, with a graceful feminine twist as the circus' Ringmaster. She makes the perfect opposite to Thomas; the two work off of one another to create moments that are both humorous and intriguing, especially in the Act Two opener "On the Right Track." Husband-and-Wife Broadway veteran team Terrence Mann(Beauty and the Beast) and Christine d'Amboise(Carrie) portray King and Queen duo Charles and Fastrada. Mann brings wit to the usually dry role, and d'Amboise's dancing is captivating. Andrea Martin(Young Frankenstein) as Berthe is the stand out of the veteran cast; she steals the show during her song "No Time at All," bringing both some laughs as well as few surprises (which you need to see to believe!).

            What this revival achieves, and what sets it apart from most other productions, is that it has successfully made the entire show both enjoyable and entertaining. Songs that are usually not as favored by audiences, like "Extraordinary"  are now show-stoppers.  "Morning Glow," the Act One Finale, is more powerful than ever before. Each new song outdoes the last, which is no easy task. From the colorful set and costumes, to the strength of its cast, to Schwartz's classic score, Pippin is a production that is meant to be seen by all audiences, both young and old. It is a spectacle, to say the very least. Pippin is the kind of production that will make young audiences fall in love with live theatre, as well as remind seasoned theatergoers why they fell in love so long ago.

Review By: Kelcie Kosberg