Review: BULLETS OVER BROADWAY at Summer Arts Intensive

Summer Arts Intensive has once again delivered a knockout production, this time bringing the roaring '20s to life with a spirited and stylish staging of Bullets Over Broadway. Under the crisp direction of Rebecca Saari, the production dazzled with vintage flair, fast-paced comedy, and top-tier performances that left the audience grinning from curtain to curtain.

At the center of the action was Noah Meline as the earnest and conflicted playwright David Shayne, anchoring the show with charm, sincerity, and a strong vocal presence. His heartfelt delivery in “There’s a New Day Comin’” and his standout duet “Blues My Naughty Sweetie Gives to Me” showcased both emotional depth and musical versatility. Meline deftly balanced David’s artistic idealism with the absurd chaos that unfolds around him.

Austin Saari was magnetic as Cheech, the mobster-turned-playwright whose surprising depth and dry delivery stole every scene he entered. His performance of “’Tain’t Nobody’s Biz-ness If I Do” was a gritty showstopper—funny, fierce, and full of swagger.

Lily Eidenschink was a riot as Olive, the hilariously untalented starlet with mob connections and zero self-awareness. She lit up the stage with her bold personality and comedic precision, especially during the cheeky and chaotic duet “Let’s Misbehave” alongside Bear Reed Jr. as Warner, whose antics and physical comedy were laugh-out-loud funny and perfectly timed.

A true audience favorite, Bear Reed Jr. brought uncontainable energy to Warner, delivering side-splitting comedic moments and stealing every scene he was in. His chemistry with Eidenschink’s Olive added an extra dose of hilarity to “Let’s Misbehave,” and his inexplicable love of dog biscuits had the audience laughing uncontrollably. His commitment to every ridiculous moment made his performance unforgettable.

As the over-the-top diva Helen Sinclair, Clara Kranz was a force of nature. Her rendition of “They Go Wild, Simply Wild, Over Me” was dripping with theatrical flair and vintage glamour. Kranz brought just the right amount of melodrama and magnetism to her performance.

Lauren Diers as Ellen added warmth and vocal power to the role of David’s long-suffering girlfriend. Her rendition of “I Found a New Baby” was playful and heartfelt, offering a glimpse of Ellen’s independence and spirit in the midst of the backstage chaos.

Jaden Dahlin was delightful as the beleaguered producer Julian Marx, and Andrew Grothman brought mob boss Nick Valenti to life with just the right touch of menace and humor.

The entire supporting cast and ensemble deserve high praise for their energy, polish, and versatility. From the opening number “Tiger Rag” to the riotous finale, the ensemble brought nonstop momentum and flair. One of the most memorable moments came in the Act I closer “Runnin’ Wild,” where Amanda Perlenfein’s choreography truly shined with sharp, exuberant dancing that brought the house down.

And speaking of unforgettable, the number “I Want a Hot Dog for My Roll”, with wonderful vocals by Olive (Lily Eidenschink) and Hot Dog Vender (Noah Painter), featured a hilariously unexpected appearance by tap-dancing hot dogs, a moment that had the audience roaring with laughter and added an extra layer of playful absurdity to the already zany world of the show.

Of course, none of this would have been possible without the outstanding creative team. Choreographer Amanda Perlenfein filled the stage with period-appropriate energy and inventive movement throughout. Jason Carlson led a phenomenal pit orchestra that handled the jazz standards with flair, giving the show an authentic and infectious musical heartbeat.

Sandy Thiel’s costumes were a visual delight, perfectly capturing the glitz and style of the 1920s while helping define each character’s role in the chaos. Brian Lynch’s set design transported audiences from rehearsal rooms to speakeasies with flair and creativity. Every detail, from lighting to props, was handled with care by a production team clearly committed to excellence.

Together with the rest of the dedicated production crew, Summer Arts Intensive has once again proven the power of combining young talent, expert guidance, and a whole lot of heart.

Fargo Awards - Live Stats

Best Musical - Top 3

1. AMERICAN IDIOT (Stage West)

26.6% of votes

2. NEWSIES (Stage West)

18.4% of votes

3. CARRIE: THE MUSICAL (Fargo-Moorhead Community Theatre)

14.2% of votes

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