Rich Lopez

The show did have some high-energy musical numbers but overall, the novel’s complex themes of class were rendered inert by a proliferation of slow, reflective ballads, particularly in the second half. No complaints on the voices that performed these songs, but the numbers drained any momentum the show had to offer. With lush Jazz Age vibes, any electric energy was disappointingly absent. Gatsby often felt languid and mistook melancholy for depth. The high production values did not overcompensate for the mid-level songs.

This all couldn’t happen with the enthusiastic cast and its endless energy. Dallas’ own Rachel Simone Webb carried the show like a champ with a stunning voice, sharp dance moves and a performance that tapped into the struggles of a young woman embracing her own identity.

With its charming and strong cast, Company was a clever production of talent and craft on display. Freshened up from its 1970 debut, this version switches out Bobby with Bobbie played by the exquisite Britney Coleman. Coleman carried the story with ebullient energy portraying all the frustation of being a single gal but also the joy of it as well — especially when she sees how not-as-happy her married friends are.

The national tour of Funny Girl has come to Dallas as part of Broadway Dallas’ season. The classic musical opened Tuesday, but Wednesday night’s performance was glorious and energetic, delivering a satisfying fresh take on a familiar story. The cast was strong, but the burden was on Hannah Shankman who carried it easily as the vaudeville legend Fanny Brice.

Despite a lively prologue medley of familiar ABBA songs, the show started off rather tepid with low energy. The first number, “I Have a Dream,” isn’t a banger, but Amy Weaver, as Sophie Sheridan, initially kicked off the show with a lukewarm vibe that lasted for about the first three numbers. Christine Sherrill kickstarted the show with the spirited “Mamma Mia” and then was bolstered by the appearance of Jalyn Steele and Carly Sakolove as Tanya and Rosie amping up the place with “Dancing Queen.” The show found its footing and the rest was all dynamic merrymaking.

The story is compelling but with no real stakes made for an entirely different vibe from most musicals. The showtunes aren’t big spectacles. McPherson’s storytelling was well-crafted but gloomy in tone throughout. The show and the songs never really led to a big moment so in many ways, North Country felt more like a dramatic play with songs rather than a musical.