Reviews by Jerrod Sumner
‘Water for Elephants’ Soars at the Orpheum
What sets this adaptation apart is its collaboration with the visionary PigPen Theatre Company. Known for their “folk-noir” storytelling and organic puppetry, PigPen’s influence provides the musical’s rhythmic and soulful backbone. This isn’t just a circus; it is a memory play where the ensemble’s movement and the ingenuity of the design create a visceral sense of wonder.
Review: How ‘Kimberly Akimbo’ Finds Its Heart in the Everyday
While the laughs are predictable on opening night, there were audible sighs of heavy hearts when Kimberly felt life’s disappointments. As a collective, we were on this journey together. If you typically find traditional musicals too staged, these modern stories offer a refreshing pivot toward emotional realism. They trade flashy dance breaks for a conversational intimacy that feels more like a great indie film set to music.
Review: ‘Shucked’ Is the Delightfully Corny Musical We Need Right Now
Although “Shucked” debuted just a few years ago in 2023, its spirit is rooted in classic musical theater comedy, delivered with a delightful, knowing wink to the legacy of “Hee Haw,” the television comedy-variety show. As “Shucked” reminds us early on, corn is, well, “the same going in as coming out.” You can expect to leave the Orpheum feeling a little lighter, a little happier, and perhaps just a touch cornier than when you arrived.
Review: A Modern Reimagining of ‘The Wiz’
This may be one of the hardest working ensembles currently on tour. Beyond the staggering number of costume and character changes, these performers are dancers of the highest caliber. Expertly choreographed by JaQuel Knight, the movement is a highlight of the evening. Whether they are spinning in cyclonic unison or posing and twerking at the “No Sleep Club” under the Wiz’s watchful eye, the choreography serves as a brilliant retrospective of Black style and movement technique.
Review: The Phantom Mask Returns
The production feels significantly more operatic in talent and staging. It truly feels as though you are inside the Paris Opera House from the moment the show begins. The North American Tour is directed by Seth Sklar-Heyn, based on the original direction by Harold Prince, with choreography by Gillian Lynne, recreated by Chrissie Cartwright.
‘The Notebook’ at The Ordway Proves Love is Worth the Fight
If you seek a show that leaves you feeling merely lighthearted and humming tunes, look elsewhere. If you seek a show that leaves you feeling profoundly blessed to have loved and been loved, you have found your show.
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