Review: BLUE MAN GROUP at Straz Center

For 90 relentless minutes, everything happened all at once, and somehow it all worked together. The show is a high‑energy collage of booming drums, flashing hypnotic lights, and the kind of joyful absurdity that makes you grin even when you’re not sure what’s coming next.

In the span of a few heartbeats, we watched a relationship begin, blossom, and culminate in a wedding — all in five minutes. Moments later, we were witnessing a chaotic five‑person game of Twister, then suddenly we were at a full‑blown rock concert, then showered in confetti like we’d just won something big. Paint danced across drums. Robots came to life. And one brave audience member was covered in paint, hoisted upside down, and launched into a canvas to create a souvenir “masterpiece” he’ll never forget.

Threaded through all of this was a sensory explosion: psychedelic lights pulsing in time with super‑charged percussion, and funky melodies played on a machine made entirely of PVC pipes. I didn’t know Beethoven’s “Für Elise” could be played on plumbing supplies, but here we are.

The three Blue Men — Right, Center, and Left — were a trio of silent comedians with impeccable timing. Their physical humor, audience interaction, and camera‑mugging antics kept the room buzzing. At one point, Left and Right caught paint‑filled balls with their mouths and used them to create splattered mini‑canvases. It was weird. It was wonderful. It was peak Blue Man.

But the unsung hero — or rather, the fully sung, fully drummed hero — was the fourth performer: the non‑blue drummer. She was a force of nature. A wild, electrifying, Animal‑from‑the‑Muppets‑level powerhouse who attacked the drums with joyful ferocity. The playbill calls her “Rockstar,” and that title doesn’t even begin to cover it.