Amanda Prahl
Latest Articles
Spooky Season on Stage: Three Musical Villains Share Their Secrets
This spooky season, Jake Shears, Claybourne Elder, and Ali Louis Bourzgui share the art of making audiences terrified of (and maybe a little in love with) musical theater’s biggest baddies on stages right now.
She Believed She Could: Angelica Chéri Becomes Broadway's Most Wanted
Most of us have heard some maybe-true, maybe-exaggerated stories about our families’ histories.
She Believed She Could: Maria Wirries Is Skyrocketing to Stardom
Early in 'The Lost Boys', LJ Benet’s Michael calls Maria Wirries's Star a “bolt of lightning,” and that description could absolutely apply to Wirries, too: an actor, singer, and writer whose joy and creativity overflow in every word.
Album Review: KNOXVILLE Handles Complex Themes with Grace
Broadway World album critic Amanda Prahl reviews the new Ahrens and Flaherty musical KNOXVILLE.
Album Review: THE UNSINKABLE MOLLY BROWN Revamps a Classic
Amanda Prahl examines all-new UNSINKABLE MOLLY BROWN, the good, the bad, and the triumphant.
BWW Album Review: SIX: LIVE ON OPENING NIGHT Is a Royal Rush of Joy
The live cast recording, recorded on their (new) opening night, captures the unique energy that has turned Six from quirky online phenom to Broadway hit.
BWW Album Review: LOVE IN HATE NATION Is Defiant But Familiar
With some catchy tunes and a talented cast, the cast recording of Love in Hate Nation is a valiant effort, but it never quite rises to standout status.
BWW Album Review: TICK, TICK...BOOM! Makes a Huge Emotional Impact
The experience of listening to the soundtrack to Netflix's adaptation of tick, tick.
BWW Album Review: HAPPINESS IS...CHRISTMAS! Is a Dose of Holiday Cheer
With her second holiday album, Happiness Is… Christmas!, Kristin Chenoweth puts her own unique spin on the classic Christmas collection
BWW Album Review: DIANA's Cast Recording Isn't Quite a Crown Jewel
Diana attempts a throwback-pastiche score with baffling moments of camp to tell the story of an uber-famous blonde whose relationship with the press both made her and destroyed her.
BWW Album Review: Tom Kitt & The Collective REFLECT on One Very Tough Year
By this point, it feels like every major musical name has produced some kind of “pandemic project”.
BWW Album Review: CINDERELLA Goes Beyond Just Charming for the Modern Age
The team of Andrew Lloyd Webber, David Zippel, and Emerald Fennell have created a new version of Cinderella that's actually quite fun, sometimes lovely, and consistently catchy.
BWW Album Review: SUF/SOND's A PERFECT LITTLE DEATH Is Imperfect But Lovely
SUF/SOND puts a new spin on classic Sondheim tunes, giving them the soft indie-folk treatment.
BWW Album Review: FANGIRLS Gets the Satire Without the Cruelty
Fangirls, Yve Blake’s tongue-in-cheek satire, parodies both fan culture and the historic dismissal of the interests of young women.
BWW Album Review: The Hills Are Alive Again with R&H GOES POP
Far from being musical heresy, R&H Goes Pop! instead serves as a reminder of how Rodgers and Hammerstein were at the forefront of musical theatre during their time, and how their music is truly timeless.
BWW Album Review: Josh Groban Performs in Near-Perfect HARMONY
The experience of listening to a Josh Groban album is not dissimilar to the experience of watching one of those classic ‘90s romantic comedies.
BWW Album Review: Exploring Laughs and Loneliness with SALAD DAYS
Within the first few lines of the opening song of Salad Days, the mini-musical already tells you exactly what it’s going to be: a delightful, deliberately modern comedy that lightly pokes fun at the markers of urban millennial life.
BWW Album Review: Kyle Taylor Parker Brings Plenty of BROADWAY SOUL
Kyle Taylor Parker’s Broadway Soul, Vol.
BWW Album Review: ESTELLA SCROOGE Embraces Those Christmas Cliches
Estella Scrooge has several strong elements: a talented cast giving it their all, catchy music, and witty lyrics.
BWW Album Review: THE PROM Has an Unruly Heart and Uneven Performances
The Prom's movie soundtrack is largely a well-made version of Matthew Sklar and Chad Beguelin’s score, although it occasionally seems to prioritize glitz and polish over the scrappy joys of its stage predecessor.
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