Krista Garver

The cast is outstanding. Dana Cimone as Dorothy, Kyla Jade as both Aunt Em and Evillene the Wicked Witch of the West, and Sheherazade as Glinda all possess voices powerful enough to carry across the river. D. Jerome delivers a particularly wonderful performance as Tinman, joined by Elijah Ahmad Lewis as Scarecrow and Cal Mitchell as Lion. The large ensemble is fantastic throughout, brilliantly executing JaQuel Knight’s choreography – the way the dancers evoke the tornado is particularly striking.

What makes it work is the cast's fearless commitment to the bit. Storytellers Maya Lagerstam and Joe Moeller expertly guide us through the mayhem with winking self-awareness, while Wade brings genuine charm to Maizy's wide-eyed determination. Miki Abraham lights up the stage as Maizy's Best Friend, Lulu, and Nick Bailey is delightful as her faux-tough-guy fiancé, Beau. But the real MVP is Mike Nappi as Peanut, Maizy's would-be brother-in-law, who delivers the show's most eye-rolling puns with absolute sincerity.

The pace is fast, and the huge cast works overtime to maintain the production's frenetic energy. Matt Loehr is equal parts funny and frustrating as the constantly scheming Joe/Josephine, while Tavis Kordell delivers a transformational performance as Jerry/Daphne. Edward Juvier is delightful as Osgood Fielding III, with strong turns from Tarra Connor Jones as band leader Sweet Sue and Leandra Ellis-Gaston as Sugar. The large ensemble also delivers, particularly in the dance sequences.

The show features a catalog of songs written or co-written by Max Martin – the pop mastermind behind hits like Britney Spears' "Oops!...I Did It Again," The Backstreet Boys' "I Want It That Way," and Katy Perry's "I Kissed a Girl" (all of which are in it). For those wary of jukebox musicals, & JULIET should convert even the most skeptical (trust me, I used to be a skeptic myself), largely because of David West Read's incredibly smart script that appeals to a diverse, multigenerational audience. Shakespeare enthusiasts of all ages will delight in the clever references, jokes, and wordplay; Millennials will find themselves singing along to the soundtrack of their youth; and younger audiences will connect with the show's contemporary cultural sensibilities.

For audiences wanting a thrilling night of exceptional music and dancing, MJ The Musical delivers in spades. The show succeeds as both a nostalgic journey through Jackson's greatest hits and a testament to his enduring influence on popular culture.

Mandviwala’s performance is matched by the production's incredible artistry. All of the animals are puppets, manipulated with such delicacy and lifelike precision that it's easy to forget the puppeteers are even there (especially impressive since three puppeteers are required for Richard Parker alone). This reinforces the play's central theme of storytelling and the suspension of disbelief.

Carolee Carmello delivers a wonderful performance as Kimberly – striking just the right balance between someone who’s acutely aware of her own mortality and a teenager who just wants to be a teenager. And Miguel Gil brings the perfect blend of adolescent awkwardness and genuine kindness to the role of Seth. But the entire cast is strong – many of them performed or understudied their roles on Broadway.

Let’s talk talent. Everything about this show is over-the-top, and the cast has to be as well. Justin Colette, who plays Beetlejuice, is outrageous and obnoxious, which is exactly right for the crazy role. Megan McGinnis and Will Burton are perfect as the straight-laced new ghosts Barbara and Adam, while Sara Litzinger is brilliant as Delia. But the big kudos here go to Isabella Esler, a recent high school graduate making her professional debut as Lydia. Watch out, Broadway! We will be seeing a lot more of her!