Joey Morona

But all of that eye candy comes at a cost. With so much to look at, the storytelling in the music often gets lost, and it can be difficult to clock what the lyrics are trying to convey. The show is more effective as a musical when it takes a beat to quiet down and let the music breathe and the emotion come through.

Still, “Suffs” feels somewhat incomplete. The musical acknowledges racial tensions within the movement, but its treatment of Black characters and their experience is cursory and underdeveloped. (African Americans didn’t gain full access to the ballot until the Voting Rights Act of 1965.)

Ironically, for all its obsession with process, the play shines when it stops explaining how an album gets made and lets the music breathe. Songs like “Drive,” which showcases Kouatchou’s tender vocal and is the most Fleetwood Mac–esque of the bunch, and “Masquerade,” with its cinematic vibe reminiscent of The Who, make a convincing case for a band on the brink of stardom. On “Bright,” DeJean’s Diana sings with a sweet twang and cuts through the noise with conviction — not unlike Nicks in that 1997 video.

The best Broadway musicals create an immersive experience. The singing, dancing, set design, costumes and story transport you to a specific time and place, away from the heaviness of the world outside the theater. “Hell’s Kitchen” does all of that, capturing the vibrant spirit of 1990s New York. Camille A. Brown’s choreography — a dynamic mix of hip-hop and lyrical movement — gives the show its pulse. But none of it works without a strong foundation: the music. Powered by Alicia Keys’ timeless songs and a charismatic, immensely talented young lead, “Hell’s Kitchen” is as soulful and authentic as the artist who brought it to the stage — and just as entertaining.

Bekah Brunstetter’s book, adapted from Sparks’ novel, leans on familiar tropes: soulmates pulled apart by circumstance, disapproving parents and the inevitable reunion. But there’s power in those timeless beats, especially when they’re brought to life by a cast of this caliber. Newcomers Mangold and Cheers capture the wide-eyed innocence of Young Noah and Allie beautifully, their duets lifted by his tender falsetto and her enchanting tone. As Middle Noah and Allie, Clark and Deslorieux turn up the heat, their palpable chemistry matched by the strongest vocals of the night — including her show-stopping rendition of “My Days.” Gravitte provides a steady anchor as Older Noah, while Brown brings quiet grace to the show’s most pivotal role.

“Shucked isn’t here to change the world or unlock any deeper truths. But for two and a half hours, it’ll make you laugh, maybe cry, definitely tap your toes. It’s sweet, versatile and guaranteed to pop just like... wait for it... corn!”

& Juliet” might seem to be intended for a specific type of millennial: the person who watched “Total Request Live” every day after school and was obsessed with the movie “Moulin Rouge.” Know what? Guilty as charged! But that doesn’t preclude the show from being a dazzling, joyful triumph that reimagines a timeless love story with a modern sensibility, sharp wit and a big heart— all set to a beat you can dance to.

Somehow, despite the odds, the cast and crew behind the inaugural tour of the 2023 Tony-winning production pull it off. Now at Playhouse Square’s Connor Palace through Jan. 26, this visually stunning, impressively staged and thought-provoking night of theater is one you won’t soon forget.

In lesser hands, all of this could’ve turned out messy and outdated. The musical adaptation of another man-in-a-dress comedy, “Mrs. Doubtfire,” which is more interested in cheap laughs than nuance, is proof of that. Indeed, “Some Like It Hot” has its share of physical comedy and big performances, but, under Casey Nicholaw’s engaging direction, the show doesn’t rely on either to connect with its audience.

The worst thing you can do is come to “Back to the Future: The Musical” and expect the movie. The differences — big and small — could drive longtime fans of the 1985 blockbuster crazy. Michael J. Fox and Christopher Lloyd aren’t walking through the door at the KeyBank State Theatre anytime soon either.

“Company” is perhaps the most inventive and funniest musical of Playhouse Square’s current Broadway season. The production, at the Connor Palace through May 19, certainly features one of the strongest ensembles you’ll ever see on tour.

The opening line to “Funny Girl,” at Playhouse Square through March 10, is so iconic that it’s enough to instantly immerse us into the world of Fanny Brice. We’re backstage at the New Amsterdam Theatre in New York City in the early 1900s. The vaudeville legend (played by Katerina McCrimmon) is looking in the mirror, trying to summon the courage for what’s about to come.

A grand spectacle like “The Wiz” doesn’t work without a stellar cast. This time, producers have placed much of that responsibility upon the young but more than capable shoulders of Lewis. The decision may have started out as a risk but this Dorothy comes through with a stunning performance, displaying the kind of talent and stage presence that belie her plucked-from-TikTok origin story. She sings with a sweet, almost angelic tone in her voice, which somehow seemed to get stronger as the show went along. If her climactic performance of “Home” doesn’t move you to the brink of tears, you’re doing it wrong.

It’s... a lot. This musical is like that friend who is always “on.” You know the one. So desperate to entertain, they’re a constant stream of consciousness full of ideas and jokes, hoping a few of them actually land. They go off into tangents, don’t always make sense and sometimes you wish they would just relax and take a beat. Still, when they’re good, they’re really good and you remember why you enjoy their company.