Jon Bee

Admittedly, I didn't think all the elements meshed well together, but individually these elements were pretty incredible. The acrobatic components to the show were simply outstanding and dare I say, death defying. The puppetry was, in fact, a great complement to the acrobatics especially with regard to the presentation of Silver Star the Horse (portrayed by Yves Artieres) and Rosie the Elephant (portrayed by Ella Huestis, Bradley Parrish, John Neurohr, Carl Robinett, and Grant Huneycutt). My only real complaint, though, is that the elephant puppetry isn't fully introduced at the time Rosie comes into the show - I think we can afford to see her sooner instead of the finale of Act One.

The cast of The Notebook is a collective powerhouse. Beau Gravitte as Older Noah is deeply tenderhearted in this role of storyteller and husband to his beloved wife whom doesn't remember him - or rather, constantly forgets him. Kyle Mangold as Younger Noah does well enough in the role, especially with bringing the same level of tenderheartedness as his eldest counterpart. But, there is a level of gentlemanly swagger that is missing. There were a couple times where Mangold lets Noah become a little too much of a crybaby as it pertains to the approval of Allie's parents. As Middle Noah, Ken Wulf Clark delivers what I call the "Goldielocks" effect - he is just right. Clark gives a well-balanced performance, even with the unexpected encore of his solo "Leave the Light On" due to a technical hold. Clark handled the mishap as all the best in the business do - with class, professionalism, and skill.

Directed by Max Webster with Tour Direction by Ashley Brooke Monroe, the show is altogether stunning, both visually and in its portrayal of such a heart-wrenching, action-packed adventure. Tim Hatley serves as both the Scenic and Costume Designer which leaves his artistic thumbprint marked so elegantly across the stage. I was particularly impressed with the lifeboat itself in addition to its entrances and exits from scene to scene. The video and animation design by Andrzej Goulding is a great complement to Hatley's work but also stands on its own as pure theater magic.

Back to the Future the Musical struggles to capture what makes the source material so great: the music by John Williams. Composer and Lyricists Alan Silvestri and Glen Ballard seem to almost work against Williams' original musical theme instead of letting it influence the new work.

Directed by Michael Mayer, the production sparkles from start to finish. The choreography by Ellenore Scott with tap choreography by Ayodele Casel was created with cleverness and delivered with precision by the stellar ensemble. The other major creative element of the show that caught my eye were the transitions between scenes. Generally, it's not something that draws my attention, but there was something so thoughtful, at times graceful, that I couldn't help but notice. I would be remiss, though, not to mention the incredible orchestra under the baton of Music Director Elaine Davidson.