Roy Berko

Is the show bad? I think not. It is contains conflicts that seem contrived, and a fragmented soap-opera story, which doesn’t always flesh out what is going on. These are overlaid on a marvelous musical score. If only the script was of the same quality as the music.

A reviewer said of the original production, "It's UNFAIR to make me laugh this much!” I wish I could say that of the touring show. Unfortunately, I can’t. This production seems to be missing some of the abandonment needed to really get the audience to let loose.

A reviewer said of the original production, "It's UNFAIR to make me laugh this much!” I wish I could say that of the touring show. Unfortunately, I can’t. This production seems to be missing some of the abandonment needed to really get the audience to let loose.

The superb cast is headed by 18-year-old Maya Drake as Ali. According to the program notes this is her professional debut and she has limited academic training. She is not a product of a prestigious musical theatre program such as University of Michigan or NYU. From her stellar performance this is shocking. This is a talented young lady who can sing, dance, act and control the stage with seeming natural ability and ease. Standing ovation, here!

Covering over 52 years of the character’s lives, the tale illustrates parental prejudices, classism, and the harsh reality of aging and memory loss. It exposes the raw strain of advancing dementia on both the victim and their caretakers, while centering on the enduring power of love that can transcend time and stresses.

The script will never be compared other teen-centered musicals such as WEST SIDE STORY or DEAR EVAN HANSEN or even HAIRSPRAY, but the story is interesting, the touring-show is well performed and all-in-all, it makes for a pleasing evening of theater.

Sound like a fantasy? It is. A delightful fantasy that has laughs galore, lots of corny jokes, and wonderful characters. The touring show, under the direction of Jack O’Brien and choreographed by Sarah O’Gleby, is an emotional joy. The singing, dancing, acting, comic timing and preposterous storytelling, all work well.

Shaker Heights native, Max Chernin, is nothing less that astounding as Leo Frank. He does not portray the character; he inhabits his persona. His up-tight, hand-wringing, Yankee frustration with Southern tradition, especially the Jewish southern attitudes, is encompassing. He does not give a copy of Ben Platt, who recently played the role in the 2023 Broadway revival, he presents his own impressive interpretation. His vocals "How Can I Call This Home?" and "It's Hard to Speak My Heart!" were spell-binding.

The cast is excellent. Taha Mandviwala is masterful as Pi. His physicality, emotional immersion and total believability is awing.

The outstanding touring cast is headed by tall, sensual Tavis Kordell (Jerry/Daphne) and dynamic Matt Loehr (Joe/Josephine). Both have outstanding singing voices and dancing skills. Each creates a well-honed character.

Nick Fradiani, the winner of the 2015 American Idol television competition, who effectively stars as Neil-then, carries the majority of the role’s singing, dancing and acting. He is charismatic, has an excellent voice and looks and sounds like the superstar.

I was totally blown-away with the dynamism, creativity and showmanship of MJ, and was on my feet, along with the rest of the screaming stomping and clapping audience at the conclusion of this sumptuous show! (Make sure you stay for the ear-shattering, visually over-load of a curtain call!

Yes, there was some carping that “the score [which contains such quickly forgettable songs as “Got No Future,” “Cake,” “Something About the Boy” and “For the Dreamers”] was mainly superfluous,” but audiences don’t seem to mind. In fact, if the assemblage at the Key Bank State Theatre the night I saw the touring show is any indicator, the musical will also become a cult favorite as it tours the hinterlands.

Don’t go to see the touring production expecting to see imitations of Streisand or Lea Michele (who starred in the 2022 revival of FUNNY GIRL). Katherina McCrimmon who is portraying Fanny, has her own version of the role. She acts, performs and sings the role with her own persona. No heavy accent, no attempt at broad exaggerated farce, and no imitation of the Brice vocal sounds. Maybe it’s McCrimmon’s non-New York background, but it is Brice, without Brice.

The singing voices are strong, the music well-played, the technical aspects well done. The sound system leaves much to be desired as spoken voices are not well-heard. Don’t expect the usual Broadway glossy set, special effects, fancy costumes, or electronic effects. If you are a Dylan-fanatic, are into his music and/or want to sit back and listen to his songs, while paying a little attention to a slight story, this will be your thing! Me? I’m looking forward to FUNNNY GIRL and COMPANY, later in the season offerings.

Outstanding performances were put in by the delightful Avery Wilson (Scarecrow) whose “You Can’t Win” was a smile-fest; stiff-limbed, charming, Phillip Johnson Richardson (Tinman) whose “Slide Some Oil to Me” was totally amusing; and Kyle Ramar Freeman (Lion) who, though no Bert Lahr, the Cowardly Lion of the original movie version of The Wizard Of Oz, was properly cuddly and charming as the Lion, especially during “Mean Ole Lion.”

If you are a MONTY PYTHON AND THE HOLY GRAIL, ADAMS FAMILY, and THE ROCKY HORROR SHOW fan, you, like the duo of guys sitting near me, who were dressed in costumes that paralleled Beetlejuice's stripped outfit, sang along with the songs, and found the exaggeration and slapstick hysterical, will become 'Bettlejuicers.' If NEXT TO NORMAL, RENT, WEST SIDE STORY and SPRING AWAKENING are your thing, you'll probably find the whole thing trite and ridiculous.