Jeffrey Kare

Having now seen the show for myself, do I think it’s “too loud?” Not necessarily. Yes, it does get loud, but the sound design work from Gareth Owen successfully prevents it from becoming deafening to the ears. From Patti’s perspective, it’s probably an example of how the older generation isn't really into the music of today. Which is kind of similar to how Jersey, Ali's mother in this musical, isn't into the music her daughter loves. I imagine around the time The Beatles were at the height of their popularity, some adults didn’t get what their kids were losing their minds over.

Under the direction of Ryan Emmons, who was an associate to Jessica Stone on the Broadway production, he pulls off such imaginative staging. The circus work designed by Shana Carroll comes off as stunning as does her choreography with Jesse Robb. Bradley King’s lighting is incredible. There’s very colorful costumes designed by David I. Reynoso. Although the puppets for all the animals are so impressive to behold. Designers Camille Labarre, Rat Wetmore, & JR Goodman truly deserve all the credit for that. Several members of the cast happen to have background working in the circus or in some cases, Cirque du Soleil. It really shows as their experience is put to good use in all the circus sequences.

A good majority of the cast each gives strong performances. Standouts to me were Nolan White as Ponyboy Curtis, Corbin Drew Ross as his brother, Sodapop, and Travis Roy Rogers as his other brother, Darrel (pun intended). I also did quite like Bonale Fambrini as Ponyboy’s Best Friend, Johnny Cade, Tyler Jordan Wesley as fellow greaser Dallas Winston, and Mark Doyle as Bob, the leader of the Socs. The choreography by Rick & Jeff Kuperman is very precised, stylized, and athletic. It’s especially impressive in the big rumble in Act II, where it literally rains on stage.

Under Jack O’Brien’s direction, he puts together such a lovely staging. The choreography by Danny Mefford comes off as very lively. The lighting designed by Natasha Katz is stunningly opulent. The sets designed by Douglas W. Schmidt is very handsomely mounted. The costumes designed by Jane Greenwood do look very elegant. Yet most of all, O’Brien has not only assembled a terrific cast, but pulls terrific performances out of each of them. Not to mention that through their rich voices, they all do Rodgers & Hammerstein’s iconic score justice.

The whole cast is so incredibly talented in their roles. Dana Cimone gives a very winning performance as Dorothy. She’s relatable, heartfelt, and also has quite a set of pipes. Elijah Ahmad Lewis’ Scarecrow has to be the first portrayal I've seen in any incarnation of The Wizard of Oz where the character literally feels like he’s in need of a brain, resulting in memorable work. D. Jerome is solid as Tinman, who is, of course, in need of a heart. Cal Mitchell is hilarious as the Cowardly Lion. As The Wizard of Oz himself, Alan Mingo, Jr. is so delightfully over the top. Although Sheherazade literally brings the house down with her singing as Glinda the Good while Kyla Jade gives such a scenery chewing performance as Evillene, the Wicked Witch of the West.

If you’re a fan of the original film, you’ll be amazed by how the creative team reimagined the story for the 21st century. If you’re not familiar with it, you’ll be amazed by how they pulled off an old-fashioned traditional musical comedy for the modern age. Everything looks so visually appealing from Natasha Katz’ wonderful lighting to Scott Pask’s elegant set to Gregg Barnes’ glamorous costumes. Some Like It Hot not only proves to be a great time, but also offers a great message for this day and age.

Starring as Kimberly Levaco is three-time Tony-nominated Broadway legend Carolee Carmello. Onstage, she very impressively feels like a teenager. Yet emotionally, she delivers tender work that also ends up being pretty heartbreaking. Not to mention that whenever she shares scenes with other teenage characters, she manages to fit right in.

In a world where there is always something serious and cynical going on, we could always use something light. Shucked successfully checks all those boxes and brings joy to the audience perfectly.

For my first show of 2025, A Beautiful Noise was ‘so good, so good, so good!’ Baby boomers may get the most out of it, but youngsters should still find themselves toe-tapping countless times throughout the night. This not only serves as a nice throwback to a bygone era, but also as an empowering tribute to a music icon.

Under Luke Sheppard’s direction, he has everything staged on Soutra Gilmour set, which not only looks evocative of Shakespeare’s plays when they were first performed, but also very retro. Paloma Young’s costumes are also true to the era while still doing something stylish with the clothing. Howard Hudson’s lighting is so eye-popping. Gareth Owen does such amazing work with the sound design, making everything the audience hears on stage very clear without becoming deafening to their ears. Sheppard also provides slick transitions between scenes while Jennifer Weber delivers very energetic choreography. Plus, Bill Sherman’s orchestrations (with some help from Dominic Fallacaro) successfully creates a cohesive sound for all these different pre-existing pop/rock hits.

Sandy Rustin’s adaptation remains faithful to Jonathan Lynn’s screenplay, but she does add her own twists to certain aspects. Some of the jokes are carried over from the movie, but there’s also some brand new ones. So what you see on stage isn’t a carbon copy. For those wondering about how this show ends, I won’t give that away other than how it’s done is really clever. Under the direction of Casey Hushion, a former producing artistic director of North Carolina Theatre, she keeps everything moving at such a brisk pace. Lee Savage’s set mainly consists of the hallway of Boddy Manor, but several of the other rooms do make appearances. Everything looks so elegant.

Stepping into the shoes of the legendary Robin Williams sounds like no easy task at all. Yet Rob McClure, reprising a role that earned him a Tony nomination on Broadway, is more than up to it. As Daniel Hillard and his alter ego, Mrs. Doubtfire, he manages to be both hilariously memorable and sincere.

Stepping into the shoes of the legendary Robin Williams sounds like no easy task at all. Yet Rob McClure, reprising a role that earned him a Tony nomination on Broadway, is more than up to it. As Daniel Hillard and his alter ego, Mrs. Doubtfire, he manages to be both hilariously memorable and sincere.

Stepping into the shoes of the legendary Robin Williams sounds like no easy task at all. Yet Rob McClure, reprising a role that earned him a Tony nomination on Broadway, is more than up to it. As Daniel Hillard and his alter ego, Mrs. Doubtfire, he manages to be both hilariously memorable and sincere.

Leading the cast as MJ himself is Roman Banks. He gives a dynamic performance, successfully capturing the essence of the real Michael Jackson in terms of both physicality and vocals without ever coming across as an impersonation. Brandon Lee Harris and Josiah Benson (who went on at the performance I attended) both do a great job of portraying Middle Michael and Little Michael, respectively. I found Mary Kate Moore to be charismatic as Rachel, the reporter who interviews MJ during the making of his Dangerous tour. Anastasia Talley gives heartfelt work as Michael’s mom, Katherine Jackson.

Under Alex Timbers' direction, he successfully stays true to the style of Tim Burton without ever mimicking him. The visuals alone from Kenneth Posner's lighting to David Korins' set to William Ivey Long's costumes are perfectly gothic, moody, and lively. Connor Gallagher's choreography is quite energetic. For those wondering, yes, the giant snake from the original film is included. It's been brought to life by some eye-popping puppet work from Michael Currey. For a show about death, this stage musical adaptation of Beetlejuice makes for a fun night out. The national tour is currently playing at the Durham Performing Arts Center through April 16th.