Rob Levy

Leading a list of superlative performances is Nolan White as Ponyboy. His performance balances the charismatic with the restrained as he brings an inner angst to a character struggling to escape the trappings of society that have inhibited others that he knows. As a singer, White shines on several numbers, including “I Could Talk To You All Night” and “Stay Gold.”

Well-acted and emotionally bumpy, the production can be overly sugary in places and excessively bleak in others. Despite this, it is an immersive theatrical experience where audiences become invested in the love story and profoundly moved by its balance of pathos and optimism.

A fun romp of gooey fun wrapped in a Shakespearean shell, & Juliet takes the earworm drivel of songs like Baby One More Time, I Want It That Way, Roar, and Since U Been Gone, and makes them musical theater bangers. But, behind the schmaltz and campy energetics, the production entertains thanks to the talents of an exceptional ensemble. Filled with singing, dancing, love, and loyalty, & Juliet is a glorious escapade.

Anchoring the ensemble is three-time Tony nominee Carolee Carmello as Kimberly. Her performance mixes heart and humor, giving audiences a character whose warmth, inner strength, and tenacity are inspirational. Onstage Carmello is a powerhouse who singlehandedly propels the musical.

Directed and choreographed by Casey Nicholaw, Some Like It Hot is filled with dancing, singing, and vivacity. His production maintains the film's comedic and romantic flourishes while expanding its lens to include themes of gender identity, female empowerment, and confronting adversity.

Mimicking his voice with precision, Fradiani’s charisma propelled the show, especially during a stunning rendition of Sweet Caroline that ends Act One and a pulsating America that rocks Act Two.

Given a fresh coat of paint, this production has some amended changes from its predecessor. The first act has been tightened up and its ending has been updated to fit the modern world. However, the biggest change involves the lead character. Here Bobby, a man on the prowl, has been flipped to “Bobbie,” a woman looking to connect with the right person on her own terms. Also of note, the role of Amy has now been changed to Jamie, giving the show a more modern aspect with the inclusion of a gay couple who struggle with the same partnership anxieties as their heterosexual counterparts.

Funny Girl features many wonderful performances, most noticeably Katerina McCrimmon as Fanny Brice. Energetic from start to finish, she is the heart and soul of the production. From the moment she hits the stage the audience is mesmerized by her powerful voice and exceptional comedic chops.

The musical's opening show featured Alex Branton as Daniel, with McClure taking a night off. He didn't skip a beat. His excellent performance with co-star (and McClure's real-life partner) Maggie Lakis is the perfect accomplice as Miranda. Playing off Branton's wisecracking jokes, physical comedy and hokey impressions, her serious demeanor was the perfect counterbalance.

As for the cast, the ensemble is tremendous. Justin Collette’s improv background allows him to break the fourth wall with panache. His Beetlejuice is an embraceable anti-hero whose skullduggery always works against him. In addition to bringing the comedy, Collette also gives the character a vulnerability that makes him relatable.