The Cripple of Inishmaan @ The Cort Theater

Off the west coast of Ireland lies the tiny island of Inishmaan - an island where the most exciting news is that of lost cats and general petty gossip. That is until its heard from the mainland that Hollywood has come to film their lovely little homeland as well as take one lucky individual back to America to be the star of that fine film - sending the tiny little village into a tizzy, including Billy Claven, a young crippled man whose dreams of getting off the island are about to take him on an adventure much bigger than Tinsel Town.

Daniel Radcliffe portrays the character of Billy, a young crippled man this ridiculed by his peers and coddled by his two adoptive aunts.. Radcliffe masters not only the physicality of Billy Claven, but the emotional struggle of a man with the fiery passion wanting to make his way in the world, caged within his own limitations and those that others have locked him behind as well. Radcliffe approaches this role with a sensitivity that encompasses the heart of Billy’s pain as well as his drive for the experiences of life.


Other notable performances are that of Ingrid Craigie and Gillian Hanna, who have a delightful rapport playing the two worrisome aunties that have a lovely balance of humor and benevolence; Sarah Greene whose performance of Helen McCormick, a tyrannical spitfire, that the audience cannot help but love and hate equally.

Martin McDonagh once again successfully creates a dark comedy that captures dry wit that dances a lovely line of being grimly satiric and wistfully poignant. With numerous awards and nominations for his other works - including The Laurence Olivier and The Drama Desk Award - McDonagh has created another masterpiece for modern theatre, but make it a must see this season on Broadway.

The Cripple of Inishmaan opened at the Cort Theater on Sunday April 20th, 2014 and runs a strictly limited engagement through Friday June 20th, 2014.

Review By: Sarah Hogan-DePaul
Photos By: Johan Persson

A Raisin in the Sun @ The Ethel Barrymore Theatre

What happens to a dream deferred?

Does it dry up

Like a raisin in the sun?

Or fester like a sore-

And then run?

These are the first few lines of Langston Hughes haunting poem "A Dream Deferred" that are draped over the stage at the opening of A Raisin in the Sun. A recording of a Lorraine Hansberry interview is ghosted though out the house - her words muffled and lost amongst the buzz of the audience, a phrase or two about her work sprout up here and there, setting the subtle and brilliant tone of this American classic.

Under the direction of Kenny Leon, who has received several Tony nominations for previous works including Best Revival of his 2004 production of Raisin in the Sun, shows not only his thorough understanding of Hansberry's work, but the thoughtfulness and value it has upon the generations of today's society. Along with the brilliant incite of Set Designer, Mark Thompson, the two create a cage of glue worn, jungle inspired wall paper – the backdrop of the famous alcohol crazed monologue, turbulently delivered by Denzel Washington – to boarder the saccharin yet stained, honey comb patterned kitchen that holds the action together.

This muted and crumbling background only magnifies the intensity in the performances of the entire cast. Denzel Washington captures the unrest and discontent of Walter Lee Young in mesmeric proportions – encapsulating the quiet rage of a man suffocating under “the glass ceiling” Pre-Civil Rights movement. Latanya Richardson Jackson is outstanding as Lena Younger with a comedic sass and queen bee authority for this idyllic matriarch. Yet the most impressive performances within the show were that of Sophie Okonedo and Anika Noni. Okonedo captivates the audience with her portrayal of Ruth Younger, a woman desperate to keep the few threads of married life and family together, while Noni shines in the role of Beneatha Younger, the sprightly and opinionated young adult thriving with the potential of what her generation could possibly bring.

With standing ovation, Raisin in the Sun is performing at the Ethel Barrymore Theatre, from now till June 15^th.

Review By: Sarah Hogan-DePaul

Photos By: Sara Krulwich

Love and Information @ The Minetta Lane Theatre

New York Theatre Workshop presents an unusual and unique state-of-the-nation play, which examines, explores, celebrates and questions where we are in our contemporary society. Rather than giving us an answer or presenting a moral tale, Love and Information offers us snapshots of ourselves, existing, loving and figuring, and it is up to us to decide what we make of it. We are adrift in a sea of internet, religion, mathematics, communication, news, advertisements and Facebook. How does this affect our relationships? How does it affect our memories?

The cast of the New York Theatre Workshop production of Love and Information includes Phillip James Brannon, Randy Danson, Susannah Flood, Noah Galvin, Jennifer Ikeda, Karen Kandel, Irene Sofia Lucio, Nate Miller, Kellie Overbey, Adante Power, John Procaccino, Lucas Caleb Rooney, Maria Tucci, James Waterston and Zoë Winters. (Cast member bios may be found at the end of the press release.)

The production team is as follows: scenic design is by Miriam Buether; costume design is by Gabriel Berry and Andrea Hood; lighting design is by Peter Mumford, sound design is by Christopher Shutt.

Love and Information opened February 19th at the The Minetta Lane Theatre located at 18 Minetta Lane.

Wonderland @ The Marquis Theatre

“Why is a raven like a writing desk?” More importantly, what does Broadway have to do with Lewis Carol’s classics Alice’s Adventures in Wonderland and Through the Looking-Glass? In Gregory Boyd’s and Jack Murphy’s new musical Wonderland, the familiar tale of a girl who follows a white rabbit to the journey of her life; is rewritten with a modern day twist. This talked about musical is not a sequel, as some may have speculated, but a visit back to the loveable characters in the whimsical children’s tale; that, unfortunately, leaves theatre goers curiously unsatisfied.

The trip down this rabbit hole begins in New York City, where English teacher, trying to be an aspiring writer, Alice, has moved to her mother-in-law’s apartment, along with her daughter, Chloe, while Alice takes a break from her rough around the edges marriage. But when Alice lays her head down to try and alleviate a nasty head ache, she finds herself transported to the topsy-turvy world of Wonderland.

Wonderland’s cast was energetic, overall, and fully committed to their roles, exuding an energy so inviting, that makes it a shame to admit it is the only put together part of this show. Leading the cast as Alice is actress Janet Dacal, who approaches the classic heroine with a delightful spark, truly reinventing the Alices of Wonderlands past. With a power house of a voice, Dacal rocks every last song, whether it is a ballad or a belting number. And what would our heroin be without a knight in shining armor – or in this case a cream, equestrian uniform? Darren Ritchie delights the audience as Jack the White Knight, an eager-to-please hero, combining the wistfulness of Don Quixote and the over-gelled lead in a boy band. Humor and valor are masterfully portrayed in Ritchie’s performance, that has the gents snickering and the ladies swooning.

Other show stopping performances were that of Chloe, played by Carly Rose Sonenclar, and The Mad Hatter, played by Kate Shindle. Sonenclar’s voice is so unbelievably fantastic, it was nearly impossible to believe that those notes came from her little frame. The deliciously crazed hatter, shone onstage, as Shindle took command as the menacing antagonist, with a voice that proved who wore the hat in this production.

Even with a truly remarkable cast, the book, supplied by Gregory Boyd and Jack Murphy, was less than desirable. With left field plot twists, blatant exposition, and trite lessons, the storyline was blasé to say the least, delivering nothing of what its teaser adds seemed to promise. Although the comedic one-liners try to save the show, the former issues outweigh the laughs. As for the music, composed by Frank Wildhorn, the cast packs a punch through each song, one number after the other, which really rallied the audience into louder and louder cheers, but lost its appeal towards the end of the first act, as each song turned into more and more of a ‘I’ll one up you’ fest. Even trying to give the first act the benefit of a doubt, what with it being heavy musically and only introducing the main conflict more than half way through, the second act takes a complete three-sixty, being sparse on the musical numbers and racing through the climax at the blink of an eye. Yes, it has been debated that this reviewer is over-thinking what is to be a children’s musical, allow this as a counter argument. If Broadway has hosted a children’s musical version of Hamlet, retold from an animal’s perspective, for over thirteen years, entitled: The Lion King, then these new, lowered expectations for the twenty-first century’s children’s musical is not only depressing, but insulting.

Neil Patel’s design, though dealing with a limited space, was creative, however, lacked that certain “WOW” factor, as there seemed to be a required change of set per each musical number. Costumes held the same unfortunate fate, as chorus members had change, after change, after change, having Susan Hilferty’s designs become less and less impressive as the play progressed. As for the dancing, for the abundant amount of movement that there was, Marguerite Derricks’ chorography lacked the razzle-dazzle, always having the potential to be impressive and nothing more.

As chaotic as the original land beyond the looking-glass was, there is no comparison to the mixed-up, mad house that is this musical. Then again, if it is a crazy night at the theater is what you are looking for, there are other rabbit holes to venture down for that.

Review By: James Russo & Sarah Hogan-DePaul

 

How to Succeed in Business Without Really Trying @ Al Hirschfeld Theatre

How does one succeed in business without really trying? Beats the heck out of me! But it seems the cast over at the Al Hirschfeld Theatre have the little black book on the business. Show business that is. With the familiar toe tappers of Frank Loesser, the keen eye of Rob Ashford, and the sharp deliveries of Daniel Radcliffe and John Larroquette; How to Succeed in Business Without Really Trying is a knock out, show stopper of a revival.

Picture this now folks, atop the World Wide Wicket Company hangs a lone window washer by the name of J. Pierrepont Finch; played by Daniel Radcliffe, a name that means zilch, that is until he starts to climb the cooperate ladder in leaps and bounds, causing ladies’ heads to turn and men to shake their fists. How does this young whipper snapper do it? Why by reading his handy dandy “How to Succeed in Business Without Really Trying” guide, of course. This guide gives him all the know how, from schmoozing with the boss; J.B. Biggley, played by John Larroquette, to avoiding the company weasel, Bud Frump, played by Christopher J. Hanke. Now if only he can get the dream job as well as the dream girl, Rosemary Pillkington, played by Rose Hemingway, then he’d be in business.

Director, Rob Ashford, has polished one gem of a musical. From cast to costumes, sets to sound, lights to laugh-out-loud timing; Ashford nails it right on the dime. He captures the fast paced business world of the 1960’s drone worker both in dialogue and in dance. Each number having very clean and defined dancing moments that ranged from wisps of Fosse in “How to Succeed,” to a full on tap in “Cinderella Darling,” and even little sarcastic jab at a dream ballet in the number, “Rosemary.” Although it can be contested that the dancing was a bit much, none can rival the brilliance of “Old Ivy,” and “Brotherhood of Man,” which had the audience in a frenzy of cheers.

Now for the question that is on all of the tweeny-boppers minds, can Daniel Radcliffe pull off a Broadway musical? The answer is: yes, he can. With a charisma that charmed the audience into a standing ovation, Radcliffe takes the character of Fink by the bowtie and does not let him slip out of his grasp for a second. Although thin at times; his voice carried a pleasant, warm tone thought the production, which worked well for the character of dear old Finchy. As for the dancing, boy does he have rhythm! With a discipline to rival any seasoned Broadway actor, Radcliffe takes to the steps like a natural. His rapport with the rest of the cast is generally seamless, however, his relationship with the character of Rosemary left this reviewer wanting more of that romantic connection.

And who can forget our leading lady. Rose Hemingway shines in her Broadway debut, approaching her character with such endearing sensitivity and sweet comedic grace, it isn’t hard to see how third time was the charm to finding the perfect Rosemary. Hemingway’s rendition of “Happy to Keep His Dinner Warm,” is a cherry of a performance, which has this reviewer hoping to see more of her work on the big white way in more shows to come.

It would be a crime not to mention the brilliant comedic performances of the cartoonishly maniacal Christopher J. Hanke and the boisterous deliveries of the sexy sectary, Hedy La Rue, played by Tammy Blanchard. But the biggest crime of all would be not to state how delightful it was to see John Larroquette strut his stuff as J. B. Biggly.

This musical would not be complete without the imaginative designs of Derek McLane for sets, Howell Binkley for lighting, and Catherine Zuber for costumes. McLane and Binkley’s tag team work on the light up honeycomb backdrop, set the mood and location with a creative flare complementing Zuber’s classy cuts for Sixties business chic.

So let’s review reader: How did the cast fare? With class! How did the style shine? With flare! Finally, how do you get to see a show like this? You get tickets and you get them fast!   

Review By: James Russo & Sarah Hogan-DePaul

INTERVIEW: Montego Glover from Memphis

1) What or who initially inspired you to be an actress?

*Acting classes when I was 12 twelve years old.

2) What is the best advice you have ever received and that you would pass along to other actors trying to make it into the business?   

*Go to college and get your acting degree.  Tell the truth onstage and off.  Keep your word.  Handle your money.

3) How difficult was it for you to get into the character of Felicia? Do you find that you two have more similarities than differences or the other way around?

*Not hard at all. Felicia and I are both Tennesseans, young, African Americans, we’ve both experienced falling in love with someone, have a love of music, and are aspiring artists.  There’s only one big difference, Felicia and I are women from different times in the history of this country, so the experience of overt and oppressive racism is what divides us.

4) How does this part compare to others that you have done in the past?

*Felicia Farrell is my first original role in a Broadway show.  That is an enormous gift and a real privilege.  Other than that it’s the same as any of the other heavy hitting roles I’ve played.  And I’ve played them.  They all require relentless attention to detail, athleticism, and an advanced skill set.

5) Is there a dream role that you want to play and if so what is that role?

*Felicia Farrell.  And I’d love to play her if MEMPHIS is made into a feature film.

6) Do you feel that your life has changed since this role? If so how?

*Six years of development on MEMPHIS allowed to me to grow as a woman and an artist so I’ve changed as the piece evolved, and that’s good.  Aside from that the biggest change is being recognized by people because they’re familiar with the show.

7) What was your first reaction when you won both the Drama Desk Award and the Outer Critics Circle?

*Complete and utter surprise.

8) What was it like working with the cast?

*Awesome.  Everyone is so ridiculously talented, giving, supportive, and crazily funny…every single one of them.

9) Being with Memphis since the beginning, you got to experience all of the changes that the production went through. Were there any changes that you wish they kept? Where there any that you were happy they left out?

*Every change we’ve made to the show has been for the best.  All the changes have helped us do the best storytelling through music, dance, and text that we can.  As for anything I wish we’d kept, the soloist in the song “Everybody Wants to Be Black On Saturday Night”.

10) What are your plans after Memphis? Do you plan on staying in this role till the bitter end or has temptation of creating a new character been calling you?

*There is no such thing as a bitter end for me when it comes to MEMPHIS.  I love this show and my role, and I plan to work on them as long as I respond to them as an artist.  I’ve had such an amazing journey with MEMPHIS, I know I’ll leave the show when I’m ready.  Till then enjoy, enjoy, enjoy! 

11) When we saw Memphis, Huey was played by Bryan Fenkart. How is working with Bryan compared to working with Chad? Do you find yourself approaching Felicia differently depending on which leading man you are working with that night? What is the difference in energy/give-and-take between the two?

*Chad and Brian work distinctly differently as actors, in addition to being very different physical types, energies, and presences onstage.  My Felicia isn’t different with each of them, just adjusted in how she receives them and interprets their information

12) Is there any person that you took your inspiration from for the role of Felicia? If so than who and why?

*There was no person who inspired Felicia Farrell for me.  I really dug into the text for Felicia.  And because I’d been with the show from the beginning I got to assert certain qualities based on what I found in the text, the time period, the location, the music, and me, my own experiences.

13) Is performing six days a week every tiring physically or emotionally? How do you train yourself as an actor to keep up with the pace?

*Yes, it is demanding emotionally and physically, but a degree in Music Theatre is a big help!  I’m in voice lessons regularly, the rest is treating my body well, and ordering the other projects in my days so that MEMPHIS has my full attention once I walk through the stage door every night.

Memphis @ Sam S. Shubert Theatre

Winner of Best Musical for 2010, Memphis turns the clock back to rock and roll in the 1950’s down in the Deep South where the lines were dangerously defined between white, black and the music that changed the world. Now playing at the Shubert Theater, this astonishing musical reminds us all of a time where equality was nothing more than a nice word given to some, but not all, and how music, as trite as it may sound, united us all.

The story revolves Huey Calhoun, a young while man who stumbles into an all black club when he hears the voice of an aspiring singer, Felicia Farrell. From there Calhoun, who was played by Bryan Fenkart at this particular performance, declares that he will get Felicia, Montego Glover, on the radio – an all white radio station. In doing so, Calhoun boosts his career as the first white male to launch “colored” music on the radio, as well as getting closer to Felicia romantically. As the two of them heat up, so do the other citizens of Memphis – those demanding integration and those demanding segregation.

Hands down, the most electric and astonishing performance was that of the lovely Montego Glover (see on Broadway in The Color Purple). Her charismatic and endearing performance as the strong and steady Felicia Farrell, charms the audience as her prickly shell melts into a darling demeanor by the end of act one. And what a set of pipes! Glover’s emotional performance of “Colored Women” rattles the rafters with such ferocity and vigor, only for it to be contradicted by her sensitivity and docile performance of “Someday,” showing off how just a phenomenal force her voice truly is. Even with the role of Huey being played by Bryan Fenkart (making his Broadway debut), understudy to Chad Kimball, Fenkart did not fail to disappoint. His smooth-talking; all-American; boyish flair, lights up the stage, sending the audience into fits of laughter with his precise comedic timing and his “awe-shucks” nature that just melted his way into our hearts. These characteristics were also brought into every song, particularly “Memphis Lives in Me,” as Fenkart nails this blues ballad, doing justice to the title song. These two powerhouses were not the only ones who memorized that night. J. Bernard Calloway (also making his Broadway debut), as Delray, was superb with his soulful delivery in both his acting and singing performance. “She’s my Sister,” overflowed with soul and a force so dynamic it gave this reviewer chills. Another performance that was also just delightful was that of Cass Morgan (seen on Broadway in Mary Poppins and Ring of Fire) as the role of Mama. Morgan’s performance in “Change Don’t Come Easy,” was spot on as she balanced the humor with the social commentary, making for a memorable performance. She serves as the arc in play, showing the differences in economic class during this time period. The audience watches as Mamma goes from low class rags to high class dress and attitude. She shows the true economic status of Memphis in the 1950’s.

With the music and lyrics, by David Bryan (lead keyboard player of the group Bon Jovi) and Joe DiPietro (whose work includes The Toxic Avenger), alongside the chorography of Sergio Trujillo (a Tony Award winner for Jersey Boys), the ensemble shows what it takes to make jazz hot and the blues cool as they artfully command the audience through the good times and the bad. From sultry, sexy swinging moves in the club, to young and innocent mashed potato, each number did not fail to thrill the younger audience members and even create nostalgic moments for others. Speaking of artfully done, David Gallo’s (a Tony Award winner for The Drowsy Chaperon) designs for the set, with the help of Shawn Sagady’s (making his Broadway debut) tasteful touches of projections, jived you right into the heart of Memphis, circa 1950. The scenic design has just the right blend of minimalistic and realistic, as each set piece was transformed seamlessly into the next scene. A real treat in the projections was watching Calhoun’s TV show as if it were being shot “Dick Clark,” style. This fine crafting was enhanced with Howell Binkley’s (whose work was seen on Broadway in Avenue Q and In the Heights) great lighting design. With a mix of traditional Broadway lighting and concert writing, for certain scenes, this design really brightened up and added life and color to such a poor community. Also, Memphis was brought into full realization with the stunning costume design by Paul Tazewell (whose work has been seen on Broadway in Guys and Dolls and A Raisin in the Sun). The costumes captured the full spectrum of this time period – the contrasts in both race and class. Memphis was a technical joy to watch!

As the cast sings one last reprise of “Steal Your Rock ‘N’ Roll” to a standing ovation, as each of the audience members clapped in time with the beat – people from all different backgrounds and ethnicities clapping out the “rhythm of their souls.” A rhythm that united our country. A rhythm that is not to be missed.

Review By: James Russo & Sarah Hogan-DePaul

 

Through the Night @ Westside Theatre (Downstairs)

Renowned award winning actor, singer, writer and composer, Daniel Beaty, has done it again in this hilarious and moving one man show. Through the Night, now playing at the Westside Theatre on Monday evenings, is a laugh out loud and heartfelt approach to the story of five African American men whose lives are all intertwined as they fight their way through their struggles in the projects.

A young boy, named Eric, tries desperately to mix herbal teas with healing properties to save those around him; while his father, Mr. Rogers, tries to save those around him from poor nutrition, like the Bishop, who is trying to save himself and overcome his addition to his favorite snack treat, Ho Hos. The Bishop is father to a man named Isaac, who is fighting himself about whether or not he should accept his homosexuality, crushing his father, or be true to who he is. Isaac is mentor to recent graduate, ‘Twon, who is also fighting to get out of the projects and be a better man than his nonexistent father was, where as Dre, a recently clean addict is trying to be responsible and take care of the woman who is soon to birth his child… his child who just might be HIV positive.

Lost yet? To non typical theatre go-er it might be a little over whelming trying to keep all five of these characters straight within one man’s body, but Beaty does a profound job of personifying each of the characters down to a “T” without a single costume change. From the Bishops’ waddle, to Eric’s nine year old, innocent demeanor, each character comes to life with such precision. Although this reviewer would have liked Mr. Beaty to have gone just that extra step in making them all a little bit larger, yet director Charles Randolph-Wright has the right notion of having his actor hold back just that much as not to make the characters seem farcical and over the top, especially in such a small performance space, made the characters quietly honest and not mocking representations.

With only three boxes and a textured backdrop, Beaty keeps the audience engaged not only with his personification of touching characters, but with his words. What at first seems more like a play about five men whose lives just happen to be intertwined, become so much more, as the words of plot and exposition melt away and become a lyrical masterpiece. Such segments as “Run, black man, Run,” and “Dance, momma, Dance,” become chilling glimpses into the very souls of these men.

Throughout these dramatic moments, poiant music can be heard, thanks to the help of Lindsay Jones, who wrote an original score for this production. Without overpowering the music, that was the lyrics themselves, Jones leaves hints and swells of hope and integrity not just a mere back track. Even the sound effects, though minimal as they are, help to quietly fill out the grey areas that Beaty cannot paint on his pallet alone, with the tinkling of a spoon in a glass to the beeping monitor and murmur of a hospital waiting room. There were, however, a few transitional tracks that broke the spell, trying to establish the urban grunge of the inner city, but it only subtracted from what had been created.

Lighting, although nicely done, seemed to be a little rough around the edges. Transitional lighting fell short, as Beaty was constantly out of his light, however there was a clear establishment of setting of characters and mood with the changes in color, if under realized at times.

Although this might spoil the ending for some, it is left at a cliffhanger with the story of Eric is concerned. The question on everyone’s lips is, “Will this young boy live or die.” If this reviewer walked away with any message it is this: only the actions of each audience member beyond the end will set his sentence. Not sure what that means? Well you’re just going to have to brave through the night to see it.

Review By: Ryan Oliveti & Sarah Hogan-DePaul

 

Bloody Bloody Andrew Jackson @ Bernard B. Jacobs Theatre

Move over traditional musical, indie rock is here to stay on Broadway. What RENT did for the village, Spring Awakening did for raging hormones, and Next to Normal did for a reversed Oedipus complex; Bloody Bloody Andrew Jackson takes the typical history lesson by the collar, and gives a big F.U. to political correctness, stuffy explanations, and pompous “just-the-facts” attitude. It is set ablaze with a powerful score, an electrifying cast, and a production that captures the ferocity and complexity that was our seventh president – Andrew Jackson.

Even with an unusually quiet audience for such a powerhouse of a musical, the energy of the entire company – band included – creamed the scene with power and passion with not just the book, but the sheer subject matter. Touchy subjects – such as mass genocide and the infamous Trail of Tears – were approached with pristine wit and tenderness, creating an unsettling and yet spot on discourse within the audience members. The cast and crew nailed the feel good and thoughtful musical with a balance of ease that made it appear effortless.

Alex Timbers and Michael Friedman have created, what one audience member jokingly remarked, “The No-fear-Shakespeare for the history books, but done right!” Their work was refreshing among the other dime a dozen revivals and movie-made-musicals that seem to be creeping into the Big White Way. Bloody Bloody Andrew Jackson is the little patch of underground utopia that restores faith for the modern musical.

Benjamin Walker is a riot as Jackson, with his keen sense to capture the unruliness and internal struggle of a brilliantly mad man, he does not fall short of kicking ass and taking numbers as well as making you weep. On a scale of one to ten, he blazed through at a constant fifty, light up the stage with his voice, timing, and clarity of his role. Also, Maria Elena Ramirez’s role as Rachael (Jackson’s wife), was stunning. In her most poignant number “The Great Compromise,” the little woman gives her character a sharp turn from the comedy into tragedy with such grace and precision, giving further definition to her character. Bloody Bloody Andrew Jackson’s stellar cast is rounded out by the brilliant ensemble. Each member does a great job of portraying many different characters and even picking up an instrument or two to play with the band!

With the Bernard B. Jacob Theatre looking more like the interior of a bar – with the décor landing somewhere between an old fashioned tavern and an AC/DC concert – the generation gap of both era and genre made for a phenomenal combination. As stunning as the costumes were, continuing to stick to a westernized feel of today’s multi-layered look, there were several unnecessary costume changes among the chorus members; which did nothing to enhance the plot or scene, but more so to inflate the ego of the fashion gods. The lighting aspect was a stunning visual orgasm, as color changing neon tubes protruded from the stage, rippling on and off between numbers for the hard rock effect; while hundreds upon thousands of strings of lights glowed overhead – and over every space available for that matter – to create that old time feel of Southern comforts for the more somber numbers. Justin Townsend, lighting designer for this production, better take one hell of a bow for pulling off one magnanimous spectacle.

With the tired, but true saying, “history always repeats itself,” the message in this production is clear, keeping its audience members interested in more ways than one. Bloody Bloody Andrew Jackson is a must see, if not for the reasons above, then for at least a really crazy guy, in some really tight jeans.

Review By: James Russo & Sarah Hogan-DePaul