Regional Roundup: Top 10 Stories This Week Around the Broadway World - 10/7; THE PRODUCERS at Paper Mill, GHOSTS in Seattle and More!

This week, we go around our Broadway World to feature stories in New Jersey, Tallahassee, Seattle and more. Check out our top 10 stories around our Broadway World below, which include THE PRODUCERS at Paper Mill, AS YOU LIKE IT in Tallahassee, and GHOSTS in Seattle, just to name a few.

East/Northeast

1. Washington, DC: Editor Roger Catlin reviews DANTE'S INFERNO at Synetic Theater. He says, "Anastasia Simes' set is angular and jarring, opening trap doors to other levels, with jagged mountains moving in and out, and characters flipping off of them. Her costumes are striking as well, from the regal red worn by Vato Tsikurishvili's brooding Dante at the center of the action to the tattered wrappings of the souls who haunts him." Read more here.

2. New Jersey: Editor Adam Cohen reviews THE PRODUCERS at Paper Mill Playhouse. He says, "The production is filled with an immense sense of fun and some high-wattage compelling performances. Michael Kostroff's is definitely (and thankfully) his own Bialystock. With bulging eyes akin to Brooks' crony Marty Feldman but his stamina, supple voice, way with a gag, and expressions make this Max resilient, charming, and entertaining. This is difficult considering the legacy of original Broadway and film star Nathan Lane and the 1968 film's Zero Mostel. David Josefsberg as Leo Bloom has a wonderful voice and subtle charm. He brings plenty of flop sweat and neuroses to his Bloom, Josefsberg holds his own especially in scenes with Kostroff and the lovely, winsome Ashley Spencer as Swedish bombshell secretary/receptionist/actress Ulla. She has a lovely singing voice." Read more here.

3. Boston, MA: Editor Justin J Sacramone reviews Sean O'Casey's THE PLOUGH AND THE STARS at The American Repertory Theatre. He says, "Just like we've seen in other recent revivals of classic plays, director Sean Holmes approaches the text as a new play without any clout attached to it. It's a freeing experience and is the type of creative formula that allows for risk-taking without the fear of ruining the expectations of seasoned theatregoers. Holmes's approach begins with trashing any stage directions depicting a sense of realism. His strokes of expressionism reinforce character obstacles effectively while exposing American audiences to the results when the conventional rules of theatre are obliterated. Every design element is a bold anachronism (bold enough to give some practitioners hives), but these fringe elements combined provide a commentary on the last 90 years of Ireland's history not found before." Read more here.

Midwest

4. Cleveland, OH: Editor Roy Berko reviews MARGIN OF ERROR at Ensemble Theatre. He says, "The ending will surprise many. At the climax point the opening night audience broke out in prolonged applause. Coble, who was in the audience, must have been very happy with that reaction... The script is well written. Coble uses fog metaphors, and "folksy" tales to illustrate ideas. A story that runs throughout the play concerns mice and scorpions and how one destroys the other... Coble has wisely written the piece as a long one-act, with no intermission as the script intensifies with emotion until the audience is left breathless. Any break in the action would have tempered the over-all effect." Read more here.

5. Milwaukee, WI: Editor Peggy Sue Dunigan reviews VIOLET at Skylight Music Theatre. She says, "Allie Babich's Violet centers the musical with a crystal clear vision of Violet's chutzpah and optimism in a rural Southern girl's persona. Babich's voice rings loud and clear, never wavering in this clarity and underlying purpose that drives Violet's journey, even when opposed by those she meets alongside her in the bus seats, or those who look away when they see her face." Read more here.

South/Southeast

6. Tallahassee, FL: Editor Natali Andres reviews CURATE SHAKESPEARE: AS YOU LIKE IT at TCCIf one actress threatened to steal the show, it was Erin Lustria who just returned to the stage after a year long hiatus. Her performance as the insane player Rosalind made for some of the most hilarious moments in the show. Lustria's plays Rosalind's insanity both into some ridiculous moments, but also one of the most human characters on stage. Also acting as the chorus she is the only character to command the stage on her own, which she does with great hilarity, occasional commentary, and song." Read more here.

West Coast

7. Los Angeles, CA: Editor Don Grigware reviews 3-D Theatricals' JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. He says, "Wen is adorable as the narrator with her beautifully powerful voice and just the right amount of detachment. Long is a pleasure to watch, with super energy, his tightly muscled body nicely displayed. Long plays Joseph as a kind human being, and that is his forte. Utomi is a knockout as Pharaoh with his dynamic rockstar delivery. Dobson as Jacob and Potiphar is delightfully funny, and all the actors playing the brothers are sheer delight, as they sing and dance their way to oblivion." Read more here.

8. Seattle, WA: Editor Amelia Reynolds reviews Ibsen's GHOSTS at ArtsWest. She says, "Richard Eyre's adaptation let the characters be the stars. Bouchard is a treasure as the strong-willed Helene, constantly swallowing her pride just to keep up appearances. The climax of this show felt so earned, and it was all thanks to her commitment to bottling up her feelings. Even during major confessional moments, you could still feel her biting her tongue and withholding her true feelings. To be paired with Noah Racey's performance as Paster Manders, who masterfully incorporates enough even-temperedness to make his hypocrisy that much more devastating for Helene." Read more here.

International

9. South Africa: Editor David Fick reviews Louis Viljoen's DANGLED at the Cape Town Fringe. He says, "Viljoen is in top form, delivering a script that seamlessly blends his voice with that of the character. Although Viljoen's writing has several distinct markers, it is incredible to observe his chameleon-like approach to language and character from play to play. One would never expect to find either of the characters in THE EMISSARY dallying about in this asylum, nor would you find the bears from CHAMP cavorting with the politicians in THE KINGMAKERS. His work continues to impress." Read more here.

National Tour Highlight:

10. Costa Mesa Editor Michael L. Quintos reviews BEAUTIFUL: A Carole King MUSICAL at Orange County's Segerstrom Center for the Arts in Costa Mesa. He says, "From start to finish, the musical keeps you intrigued, despite having very little high drama (though, perhaps, it was very much high drama for the people who lived this). But as you take in the genuinely heartwarming show---from its joyful, giddy highs to its melancholy (and, thankfully, not too tragic) lows---you'll very quickly feel glad (and, frankly, a little relieved) that it has been purposely fashioned that way. To that end, BEAUTIFUL is actually quite a wonderfully refreshing change-of-pace. It's centrist entertainment that satisfies and leaves you smiling and humming as you exit out to return to your own lives. Just as King describes herself, the show is pretty "square"... but you still can't help but like it." Read more here.

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