Jared Fessler

Ann Morrison is extraordinary as Kimberly, a teenager living with a rare condition that makes her age faster than normal. Morrison doesn’t play Kimberly as a caricature or a “tragic” figure; she brings warmth, wit, and a very human vulnerability. Watching her navigate her hopes, her frustrations, and her small victories makes her instantly relatable. Her singing carries both tenderness and strength, making even quiet moments feel powerful.

What ultimately makes Shucked resonate is its optimism. Beneath all the corn jokes is a clear message about openness, connection, and the value of listening to people who see the world differently. It never lectures, and it never loses its sense of fun, which makes that message easier to accept.

The performances are nothing short of stellar. Dana Cimone, making her national tour debut as Dorothy, is a revelation. She brings a fresh and dynamic energy to the role, making Dorothy both vulnerable and strong. Her voice is pure and powerful, and she connects with the audience on a deep emotional level as she navigates her journey through Oz. Alan Mingo Jr., who reprises his role as The Wiz, delivers a charismatic performance that perfectly balances humor with the deeper, more serious moments of the character. His vocal ability is a standout, and his portrayal adds a rich layer of depth to the role.

Not “reinvented,” not “modernized”—just performed with the kind of conviction that makes you remember why this show became a juggernaut in the first place.

What makes this production work isn’t just the gags (of which there are plenty), but the sincerity behind the strangeness. Rodrigo Aragón is a charming and magnetic Gomez, equal parts romantic and ridiculous, with a fantastic handle on the show’s mix of slapstick and sincerity.

The real magic of A Beautiful Noise, though, lies in the ensemble work and creative direction. Director Michael Mayer keeps things moving at a brisk pace, blending past and present with sleek transitions and concert-style flourishes. The choreography by Steven Hoggett leans more toward expressive movement than traditional musical theatre dance, which suits the introspective tone of some of the show’s quieter moments.

Here’s the thing: this production isn’t out to surprise you. It’s not edgy, it’s not ironic, and it’s not reinventing anything. What it does do — maybe better than expected — is lean into the sincerity of the story without making it feel dated. It respects the source material, respects the audience, and lets the emotion speak for itself. There’s a scene where the Beast gives Belle the library, and it’s staged so simply, but it kind of sneaks up on you. That’s the vibe of the whole show. It’s not trying to wow you every second. It’s just telling a story it clearly loves.

At just over two hours (with intermission), Kimberly Akimbo delivers a satisfying and deeply human story that lingers long after the final note. The musical reminds us that life, even when cut short, can be full of meaning — and that sometimes the most extraordinary thing you can do is live truthfully, joyfully, in the time you have.

What makes & Juliet stand out, though, is its spirit. It’s a celebration of choice, identity, and rewriting the story you thought you had to live. It’s cheeky, inclusive, romantic, and proud of it all.

Visually, Life of Pi is a spectacle. Tim Hatley’s innovative set design transforms the stage into a vast, ever-changing ocean, while projections and lighting effects create a dreamlike, immersive atmosphere. The seamless blending of physical set pieces with dynamic digital imagery makes for a strikingly fluid storytelling approach, capturing both the beauty and danger of Pi’s journey.

At the heart of the production are the extraordinary performances of the leads. Max Chernin delivers a nuanced and deeply empathetic portrayal of Leo, capturing both his intellectual reserve and his vulnerability. His voice, rich and expressive, brings Jason Robert Brown's complex score to life, particularly in the haunting "It’s Hard to Speak My Heart."

Set in 1933, this production embodies the charm of classic musicals, featuring vibrant music, lively choreography, and impressive tap-dancing numbers. The costumes beautifully reflect the style of the 1930s, and the seamless transitions between scenes add to the overall flow of the performance. A standout moment was the clever chase scene involving doors, which showcased both creativity and skill.

The musical stays true to the movie, with some impressive lighting effects and set designs that really brought the story to life. As for the ending—wow! I won’t spoil anything, but it’s truly spectacular.

Jamaal Fields-Green took on the iconic role of MJ with a captivating performance that went beyond mere impersonation. Through his exceptional vocal prowess, impeccable dance moves, and heartfelt portrayal, he breathed life into the character, earning thunderous applause from the audience. Brandon Lee Harris, portraying Michael during his formative years, delivered a standout performance, paying homage to Jackson's roots with a soulful rendition of 'You Can't Win' from 'The Wiz.' Bane Griffith, portraying a young Michael, delighted the audience with infectious energy during the Jackson Five hits, prompting sing-alongs and applause. Devin Bowles as Joseph Jackson and Anastasia Talley as Katherine Jackson formed a compelling duo, infusing their roles with sincerity and emotion, particularly in poignant moments such as Anastasia's rendition of 'I'll Be There' and 'Man in the Mirror.'

Without divulging spoilers, I can attest that this production of Clue unfolds in a brisk 80 minutes, sans intermission, and is recommended for ages 12 and above. I wholeheartedly recommend catching this captivating rendition of Clue at the Orpheum Theatre in Minneapolis.

The vibrant set and impeccable costumes were a colorful and great for the time period. Both were perfectly complementing the setting. The lighting, particularly during the musical numbers, was striking and added an extra layer of magic to the performance. The stellar cast truly elevated the production. Katerina McCrimmon, in the role of Fanny Brice, delivered a fantastic performance. Negotiating the demanding role with numerous musical numbers and capturing Fanny's journey, Katerina portrayed the character exceptionally well. Her vocal qualities even reminded me of the legendary Judy Garland.

Staying true to the film while incorporating subtle changes, the script offered a refreshing take on the beloved story. The incorporation of memorable lines from the movie elicited laughter from the audience. The stage version's humorous, energetic ensemble numbers, paired with heartfelt songs, captivated the audience. The vibrant costumes, dazzling sets, and seamless production, including impressive quick changes, added a visual feast to the experience.

The production unfolded with a visual feast, thanks to the creative talents behind the scenes. Sharen Davis's vibrant and imaginative costume designs, coupled with Hannah Beachler's scenic artistry, set the stage aglow. The auditory experience was meticulously crafted, with Jon Weston at the helm of sound, while Ryan J. O'Gara's lighting design added a layer of enchantment throughout the entire show.

Raise a glass to a production that skillfully navigates the nuances of modern relationships and existence. 'Company' is not merely a musical; it's a symphony of laughter, introspection, and celebration—a testament to the enduring relevance of Sondheim and Furth's masterpiece.

The musical elements were a standout, and the entire cast delivered outstanding performances. The chemistry among the actors and their characters was palpable, tackling profound and challenging subject matters with depth. Jennifer Blood, in the role of Elizabeth Laine, navigated her challenging character with finesse, infusing moments of comedic brilliance that had the audience in fits of laughter. Matt Manual (Joe Scott), Sharae Moultrie (Marianne Laine), and Carla Woods (Mrs. Neilsen) delivered stunning musical numbers, beautifully complemented by the robust chorus from the ensemble.

On the opening night in Minneapolis, we were treated to an outstanding performance by Matthew Michael Janisse in the role of Beetlejuice. He had the audience in stitches, establishing a fantastic connection with the character and displaying great chemistry with the rest of the cast.