Steve Murray

Yes, the show is very silly, re-hashing the best scenes from Holy Grail verbatim. Poking fun at the plague, the clergy, the non-electable monarchy, a killer rabbit, and The Knights Who Say "Ni!" (don’t ask). The lead characters make the most of the cock-eyed book that throws the kitchen sink into this hodgepodge of material. Production number heavy, there’s big Broadway numbers that seem to come out of nowhere with a cheesy Vegas feel.

Two sets of actors play the younger Ali and Noah, and they sing of hopes, wishes, and disappointments. They all sing well, earnestly trying to make gold out the hay of a folk-pop score by Ingrid Michaelson. Her score sounds like text dialogue haphazardly shoved onto melodramatic notes. The cross-racial casting is nice, and the direction by Michael Greif and Schele Williams utilizing time-shifting construction are highlights. Sharon Catherine Brown gives a nice representation of a woman both hopelessly lost and agitated. If you’re a fan of the book or movie and need a reminder, this is for you.

Stereophonic is about creation and we see snippets of songs being written, reworked, and argued over. With a score by Grammy-winning musician Will Butler, formerly of Arcade Fire, both musicologists, producers and engineers will have a field day with the attention to details. The tempo is slow and measured, and with its running time of close to three hours, audiences are tested for their patience.

Taub’s score is fantastic, right from the opening number “Let Mother Vote” to "Finish the Fight", to the stirring "Wait My Turn". There’s both humor and heartbreaking drama when the suffs are jailed for opposing US involvement in WWI. The women see themselves as nurturers to both their men, so why not the nation. The men, mostly represented by Woodrow Wilson, are misogynistic chauvinists. Direction and staging by Leigh Siverman (Violet, Yellow Face) is terrific and the ensemble shines from start to finish. Its a rollercoaster of emotions well worth the ride.

Rob McClure is a joy as Daniel, the child-like father who can’t seem to hold a job or satisfy his wife’s demands regarding their children’s care. He’s crushed by their divorce and loss of custody. To stay is their lives, he creates Mrs. Doubtfire and is hired as the kid’s nanny. McClure is joined by renowned actress and real-life wife, Maggie Lakis as Miranda Hillard. Aaron Kaburick and Nik Alexander are hilarious as Daniel’s over-the-top brother Frank and his lover Andre, the makeup artists who create the illusion.

With a stellar touring cast led by Britney Coleman (Beetlejuice) as Bobbie and award winner Judy McLane as Joanne and the brilliant re-imagining by Elliot with revisions approved by Sondheim himself, this Company is a perfect tribute to the master providing a fresh contemporary perspective on his inciteful lyrics. Throughout a series of non-linear vignettes, Bobbie observes her married friends’ interactions which both scare the bejesus out of her and shifts her closer to a breakthrough.

Which leaves the focus solely on McCrimmon to carry the show and she delivers in spades. She’s magnetic and vibrant, both self-deprecating but sure of her talent. From her first number, 'I'm the Greatest Star', through “People” and the first act closer “Don’t Rain on My Parade,” McCrimmon is mesmerizing with her big belting vocals. In the duets ('I Want to Be Seen with You Tonight', 'Who Are You Now?) with leading man Nick Arnstein (Stephen Mark Lukas), he might as well not be there.

This revival, with its pared down set design (Tony Award winner David Rockwell) and onstage orchestra looks and feels like a stage concert, the best you’ll ever see. Director Lear deBessonet moves the ensemble expertly allowing Sondheim’s score to shine. Nominated for six Tony’s including Best Revival, the creative crew of Andrea Hood (Costume Design), Tyler Micoleau (Lighting Design), Tony Award winner Scott Lehrer & Alex Neumann (Co-Sound Designers), and Cookie Jordan (Hair, Wigs & Makeup Design) all deserve accolades.