Taylor Clemons

This is a big, bold, and splashy Broadway musical. It promises spectacle and delivers in spades. This touring production looks lavish from its scenic and projection design (by Paul Tate DePoo) to its gorgeous Tony award winning costumes (by Linda Cho).

A true Broadway veteran, Ann shows it with a wonderful and nuanced performance, capturing the youthful energy of a sixteen year old, but also the many quiet and cathartic moments that demonstrate the character is not naïve to her situation. It is genuinely a tour de force.

Vocally and dramatically, the cast gave fully committed performances. Gravitte and Brown, portraying older Allie and Noah, delivered the emotional weight of the show. Moments of silence, longing, and restraint often gave depth and pathos to the characters. The younger and middle versions (Kyle Mangold, Ken Wulf Clark, Alysha Deslorieux, and Chloë Cheers) brought energy and emotion to the romance, heartbreak, and everything in between. Particularly during the summer scenes where our lovers first met. The timeline changes were mostly seamless, and the costumes and lighting made the shifts feel smooth and natural. Allie was always costumed in evolutions of blue, while Noah in evolutions of warm burnt oranges.

The standout of the show for me lies in the staging. The acrobatics and aerial work are a sight to behold. Stunts come quickly and often, and the audience (myself included) were in awe of a lot of the feats achieved. Jessica Stone’s original direction is also really phenomenal. She takes what could be a paint-by-numbers musical and injects innovative soul into every moment, giving the show distinct character.

When people complain about movies being turned into musicals, I can’t help but feel that this is the type of show they are talking about. While it has some Great Performances and a handful of good moments, the show ultimately leaves me incredibly cold and cynical. The show feels like a cash grab aimed at appealing to as many individuals as possible, almost as if it were created by a focus group. I acknowledge I am the minority. This time travel tale worked extremely well for the opening night audience, with cosplay galore and enthusiasm abound, so I can acknowledge this isn’t for me, but it does work for many. If you’re wanting to roll the dice on something bright and familiar, while maybe not the most intelligent musical, this will get the job done.

Kimberly is played on tour by three-time Tony nominee Carolee Carmello, and she gives what is truly a marvel of a performance. The role of Kim is very unique; it’s the kind of contemporary role that doesn’t get written for mature actresses very often. Carmello embodies the spirit and attitude of a high schooler in many ways, but she gives so much care and nuance to the role. Carmello is always wonderful, but this role truly fits her like a glove, as she slowly peels back the layers of this character.

The cast is led by Taha Mandviwala as Pi, and I must say, his is one of the most astounding performances I’ve ever had the pleasure of witnessing. The emotional complexity and the physical stamina required for the role are quite vast. As the central character of the show, he carries it like a seasoned professional – absolutely flawless.

think the key to making this show work is an extremely talented cast that radiates joy. In those regards, the current national tour company is firing on all cylinders. I’d venture to say there’s not a single weak link in the bunch. This cast is led by Christine Sherrill as Donna. Christine brings so much warmth and relatability to the role, and vocally is one of the best I’ve ever seen play Donna. Her “The Winner Takes it All” late in the second act is a bonafide showstopper, and Sherrill puts her entire soul into her performance. Amy Weaveras Sophie does a wonderful job as well. Sophie isn’t the most interesting role on paper, but Melenzez infuses her Sophie with spunk and agency, while showcasing some amazing vocal chops along the way.

The tour stars vocally stunning Hannah Shankman as Fanny Brice, and there are many positives to her performance. I personally feel that Shankman handles the dramatic nuances of the role flawlessly, while sometimes the comedic moments felt as if they needed a little more gas in the tank. This isn’t to say she doesn’t land a lot of funny moments, but on the whole I was much more enamored with the heavier moments.

On opening night, the titular role was played by Justin Collette who did a phenomenal job. He expertly helmed the show and you can feel how settled into the role he is, as his hilarious ad-libs came fast and furiously. Isabella Esler is a vocal powerhouse as Lydia, but she also has many wonderful and heartfelt acting moments as well, especially in her 11 o’clock number “Home”. Adam and Barbara Maitland were played by Will Burton and Lexie Dorsett Sharp (a cover for the role) respectively. Both Burton and Dorsett Sharp bring so much dorky joy to their roles, and were a delight to watch. Burton’s Adam is quite lovable with great comedic timing and Dorsett Sharp’s Barbara is more grounded while still finding great moments and choices to make the role her own (I quite enjoyed her in “Fright of Their Lives).Another standout is Sarah Litzsinger as Delia. Perhaps my favorite performance and character in the show, she brings the crazy and kooky Delia to life, and gives a masterclass in physical comedy and scenery chewing in the best possible way, every moment she was onstage was a delight.

I think the key to making this show work is an extremely talented cast that radiates joy. In those regards, the current national tour company is firing on all cylinders. I’d venture to say there’s not a single weak link in the bunch. This cast is led by Christine Sherrill as Donna. Christine brings so much warmth and relatability to the role, and vocally is one of the best I’ve ever seen play Donna. Her “The Winner Takes it All” late in the second act is a bonafide showstopper. Alisa Melendez as Sophie does a wonderful job as well. Sophie isn’t the most interesting role on paper, but Melenzez infuses her Sophie with spunk and agency, while showcasing some amazing vocal chops along the way.

When thinking of 'Mrs. Doubtfire', it’s hard to imagine anyone coming close to Robin Williams' iconic performance, but I’m happy to report that Rob McClure is the perfect man for the job. McClure received the show’s sole Tony nomination for his work, and it’s easy to see why: his performance is what makes the show work. McClure is funny, heartbreaking, and so lovable as a father desperately trying to regain control of his life and trying to maintain a connection with his children, who he loves more than anything in the world. McClure’s performance is an absolute marathon, and he pulls off every comedic beat expertly. It’s very apparent that he’s having the time of his life continuing to play this role.

This is a true ensemble show. I found everyone on this touring company held their own. For me, the standout performances are from Jennifer Blood as Elizabeth and Sharaè Moultrie as Marianne, her adopted daughter. Blood’s character struggles with mental health. Being 1934, her condition is never given a name, but it’s undoubtedly and totally affected her family as her condition has gotten worse over the years. In one moment, she will have you dying of laughter, and the next breaking your heart. The role is a feast and Jennifer Blood, the fine performer she is, leaves no crumbs. Sharaè Moultrie has a gifted vocal talent, and beautifully delivers my favorite song in the show “A Tight Connection to My Heart”. Moultrie also turns in a wonderful dramatic performance as a well-meaning daughter trapped between two worlds.

It’s worth noting that this production started its life as a concert, and as such is fairly minimal in its execution. A base set and an onstage orchestra are all we really get in terms of thrills. However, this production has brilliant use of puppetry in many ways (one being the scene-stealing Milkly White, brought to life by the fabulous Kennedy Kanagawa), that add some much-needed fun and spectacle to the production. Though there aren’t many frills, what makes this production work so well is an inherent trust of the material, and the fact that that material is being delivered by some of the best Broadway performers working today.