Review: Titanique

Review of the Sunday, April 26, 2026 evening performance at the St. James Theatre in New York City. Starring Jim Parsons, Marla Mindelle, Deborah Cox, Melissa Berrera, Frankie Grande, John Riddle, Layton Williams and Constantine Rousouli. Inspired by the film Titanic and the songs of Céline Dion. Co-authored by Marla Mindelle, Constantine Rousouli and Tye Blue. Orchestrations and arrangements by Nicholas James Connell. Scenic design by Gabriel Hainer Evansohn for Iron Bloom. Costume design by Alejo Vietti. Lighting design by Paige Seber. Sound design by Lawrence Schober. Choreography by Ellenore Scott. Direction by Tye Blue. 100 minutes, with no intermission.

I would have loved to have been in the room when Marla Mindelle, Constantine Rousouli and Tye Blue got together and came up with the idea for lampooning both the film Titanic and Celine Dion. It had to have been an absolute tear-down-your-face laugh fest. But it also must have been a lot of work. Something this simultaneously smart and irreverent cannot be that easy to create.

The show famously arrives on Broadway following a genesis from way off-Broadway to off-Broadway, where it was a smash hit, extended many times, and beloved by a devoted fan base. Broadway, on the other hand, was a bit of a gamble, as the Main Stem is littered with plenty of shows that couldn't survive the upscale treatment. Well, I'm happy to say that this time the gamble paid off.

Directed to within an inch of its life by Blue and choreographed with a zany fervor by Ellenore Scott, the little show that could thrives on the big stage. Fast paced and bursting at the seams with sight gags and creative entrances and exits, Titanique steamrolls its way through 90 minutes of craziness with a dexterity that should be studied.

Technically, the production got a full Broadway-sized upgrade - no longer does the show take place on a half-rate set from Anything Goes. Now it has all the bells and whistles of its new locale, the set of The Voice. Well, not really, but who's going to quibble when there's the dazzling staircases and multi-levels of Gabriel Hainer Evansohn (for Iron Bloom)'s set design which covers the enormous St, James stage and beyond? One can only imagine the price tag of Paige Seber's dazzling lighting design or Lawrence Schober's perfect sound design. As brilliant as all of that is, it is a stroke of genius to leave most of the props and Alejo Vietti's costume designs as cheesy as the off-Broadway originals. It just adds to the comedy that a send up of the richest people in the world on the grandest ship ever look like they are wearing thrift shop finds (the DeWitt Bukater ladies look especially hilarious). It would have been easy to upgrade all of the props, but where is the fun in that?

The song choices, from the film, Dion's catalog and beyond (even Beauty and the Beast gets a spin) mostly work, and are delightfully shoe-horned into the script, whether they work entirely or not. As with any good parody, it's the context that makes each song choice so inspired. The book, such that it is, is as irreverent as the rest: all the best lines from the movie are here ("draw me like one of your French girls, Jack" got a round of applause), and nearly everything Celine says in the show is recognizable as something the beloved singer repeats often. They make some fun choices, too, with the characters including Rose's mother played in drag, the captain of the ship is now Victor Garber who played the ship designer in the film, but is much funnier steering the boat, and a Tina Turner-inspired iceberg. Nothing goes unscathed here, except...

  

The music and singing are top-notch. The band is spectacular and joins in on the fun occasionally, too. And the cast is full of amazing vocalists - save for one, but entirely appropriately. They definitely brought their casting "A" game to Broadway. There are three backup singers (Sara Gallo, Polanco Jones, Kristina Leopold) who are simply amazing and I can't imagine this without them. West End transplant and 2025 Olivier Award winner Layton Williams makes a show-stopping (literally) Broadway debut in a trio of roles, the tour guide, the seaman and the iceberg. He's amazing as all three, but really brings down the house with his smoking hot iceberg drag. Welcome to Broadway! Frankie Grande is a riot as Luigi (yes, Super Mario Brothers) and as Victor Garber, who is a sassy queen here and stops the show cold (literally and figuratively) with his rendition of "I Drove All Night" as he steers the ship into the iceberg.

  

In a comic turn that I hope won't be his last, John Riddle brings his glorious voice and superb timing to the role of the villainous Cal Hockley. Sexy as always, he all but twirls his mustache with dastardly glee as he stomps, flounces and preens his way around the set. Former real-life Celine Dion backup singer and Grammy-winning icon Deborah Cox is another shockingly good comedienne taking on the role of the Unsinkable Molly Brown. I wasn't shocked at her gorgeous voice (especially in her big solo, "All By Myself") as much as I couldn't believe how genuinely funny she was! 

Jim Parsons appears to be having the time of his life as Ruth DeWitt Bukater, here a foul-mouthed social climber with abusive tendencies and a few surprising kinks. Somehow, he makes his thin singing voice work as part of the character, and he is especially funny when he has a complete meltdown about halfway through the show, taking on Patti LuPone, Carol Channing, Nicole Scherzinger and Marla Mindelle herself in the process. Inspired casting here.

Aside from Williams, the only other principal making their debut is Melissa Berrera, as Rose. She is the find of the season! I found her to be a delight in every aspect - her comic timing is razor-sharp and her singing is superb. She also has incredible energy - one imagines a complete exhausted crash for her after every performance! I loved everything about her performance and can't wait to see what she does next.

Two of the show's creators and original cast members are here chewing the scenery with gusto and style, and despite a more than three year association with the piece are as fresh as opening night. What can I say about them that probably hasn't already been said? Ok, I'll try. Constantine Rousouli is, well, so sexy and charming, I had trouble concentrating on much else when he was on stage. The swagger, the impossibly tight pants, and a goof ball smile are irresistible. His timing, affected dumb guy looks and his gorgeous voice are the perfect storm for such a terrific performance. He has a new fan in me, for sure. 

Then there is the absolutely sparkling performance of Marla Mindelle as a megalomaniac version of Ms. Dion (she swears she was on the Titanic...). There is nothing she isn't willing to send up about this beloved singer - from her thick accent to her over the top mannerisms. One thing she doesn't attack is Celine's singing voice (well, not too much), as she belts her way through one pop hit after another. Her last bit (after a terrific "My Heart Will Go On" sing along) is a crazy riot that I will not spoil here. I've been a fan of Mindelle since her stint in Sister Act, and this makes me love her even more.

Whether you sit in First Class or steerage, this is one insane boat ride you will not want to miss!

📸: E. Zimmerman

Review: Schmigadoon!

Review of the Sunday, April 26, 2026 matinee performance at the Nederlander Theatre in New York City. Starring Alex Brightman, Sara Chase, Ana Gasteyer, Ann Harada, Brad Oscar, Isabelle McCalla, Ayaan Diop, Ivan Hernandez, Maulik Pancholy, Max Clayton and McKenzie Kurtz. Book, music and lyrics by Cinco Paul. Based on the Apple Original series from Universal Television. Scenic design by Scott Pask. Costume design by Linda Cho. Lighting design by Donald Holder. Sound design by Walter Trarbach. Orchestrations by Doug Besterman and Mike Morris. Choreography and direction by Christopher Gattelli. 2 hours 30 minutes including one intermission.

I went into Schmigadoon! as a blank slate. I purposely avoided music and videos to do with the show, and I have never seen or heard even one second of the Apple series upon which it is based. I'm kinda glad I didn't because I could experience it as a musical, not an adaptation, and I couldn't judge it against the source material or its television cast. I think that added to my experience, which I have to say I thoroughly enjoyed!

One thing I am especially glad for is what I did come in with: a better than cursory understanding of Golden Age Broadway. That is to say, the original versions of the classics, like Oklahoma!, The Music Man, and of course, Brigadoon. That knowledge allowed me to really get what Cinco Paul is really skewering in his loving, sharp and hilarious book, music, and especially his lyrics. The parody is so smart and yet easily accessible to even those in the audience with only cursory knowledge of the era. Wisely, in the dialogue, he inserts points about the genre and then immediately goes after them: "No one ever dies in a musical!" "Well, except for West Side Story, Oklahoma! and..." He really calls out all of the absurdities of the genre head on - bursting into song, dancing in the streets - and the less modern thinking - misogyny, anti-gay ideology, racism, etc. That he does it with two characters who are polar opposites when it comes to theater - he hates musicals, she loves them - makes it easier and more natural to address these themes.

All of the best things (and the worst things, too) about the Golden Age are here. There are great production numbers with an exceptionally fit and good looking ensemble, the show off hero song, the belt your face off numbers, the cheeky soft shoe duet, the splashy tap number. Then there's the pretty scenery, each piece looking hand painted and technicolor, and fancy drops all designed by Scott Pask, and beautifully lit by Donald Holder. Linda Cho's ladies costumed in a rainbow of gingham dresses and vested men in matching colors, supplemented with the hilariously dark and heavy garb for the villain of the piece, are as fun to enjoy as they are stunning to look at. Even the orchestrations by Doug Besterman and Mike Morris are gloriously old school and lush sounding - Jonathan Tunick, Sid Ramin, Russell Bennett, et al, would be so honored. The orchestrations are more tribute than parody, which makes them all the better for the show.

The entire company was perfectly suited for the assignment at hand. One wonders if the ensemble's cheeks get physical therapy between shows from the permanent huge smiles they have on their faces, not to mention the workout from the impossibly high kicks, tap dancing and character work! And it was nice to see the blending of Broadway chorus regulars with plenty of new faces; it is great to see the tradition will continue unabated.

  

The main company is also uniformly excellent. Doc, played by Ivan Hernandez, brings out the stoic, authoritative type with an uptight sexiness. His misogyny is played straight to absolutely hysterical results. There's the cute child actor (Ayaan Diop) with a speech impediment who earns every "awww" he gets from the audience. (And I love how Paul brings out the full Music Man implications for this character.) The completely clueless, but not really, stock character is played to riotous effect by the always wonderful Ann Harada, who I wish had more to do.

The hero of our story has two ingenues to choose from: the dumb bumpkin/Ado Annie aggressive girl with a mean daddy, and the so sweet you could get a cavity by looking at her school marm. The former is played to the hilt by McKenzie Kurtz, who uses a variety of vocal affectations and not really naive sexuality to get her man. She is funny and sings and dances like the very best second ingenues throughout musical history. The latter is played by Isabelle McCalla, who here shows some serious dancing chops I'd never seen from her before, and she plays the no nonsense Marian Paroo type to perfection. Both women were superb.

Meanwhile, the heroine of our story also gets two men to choose from: Doc, who it seems she will change with her progressive ways, but only really helps him find his true self, and the rapscallion bad boy who isn't that bad really, played with an intoxicating charm and sexy charisma by Max Clayton, who really comes into his own here. A cross between Billy Bigelow (he even works at a carnival) and a kind of bad boy Tulsa/Pal Joey type. His big number at the midway is a real showstopper, and his final entrance is met with a deserved roar of approval.

The town of Schmigadoon is run by benevolent Mayor Menlove (everything that implies) played by the always terrific Brad Oscar, and he delivers every line so straight you can't help but giggle every time he opens his mouth, especially when he reveals his true self at the end. And just as funny is the faux piousness of Maulik Pancholy as The Reverend Layton. Hen pecked and harboring secrets, it fun to watch him lampoon the type while staying true to it. And who better to play his wife than the very funny Ana Gasteyer, who clearly relishes the chance to put all of her most villainous skills to work. Her act two number, "Tribulation" is a fast-talking tour de force that literally stops the show. Brava!

As the everyman and everywoman from modern day New York, Alex Brightman and Sara Chase are comic gold. Great together and perfect apart, they are not only the glue that holds this all together, they are us. Wanting more than they have, learning that what they thought they wanted wasn't everything, and, of course, finding each other again is the stuff musicals (and life) are made of. It is nice to see Brightman play a more grounded, less bombastic character. Don't misunderstand, he is very funny, but without anything to hide behind like weird make up, special effects or a crazy voice affectation. Chase is a gifted comedienne, here the picture of goofiness, personal strength and lover of all things musical. And what a voice! In her big number she lets loose with a belt I didn't see coming, much to the delight of everyone in the room. And the two of them together are simply magical.

As great as this cast and design team are, Schmigadoon! is really wonderful because of director/choreographer Christopher Gattelli. He consistently knows when to play up the silly and when to bring it down. He knows how to play it straight and when to let us know that we are all in on the same joke together. It is a smooth, seamless production with a perfect ebb and flow. Even the scene transitions are ingeniously (and hilariously) choreographed! And speaking of dancing, Agnes de Mille, Bob Fosse, Gower Champion, et al, would be thrilled at his loving homage to them in every single number. There's not a weak one in the show.

Is this a perfect show? Almost. It comes perilously close to overstaying its welcome, and I'm sure I wasn't the only one occasionally distracted as my mind would get stuck trying to figure out what was being sent up at any given moment. But, by and large, it was a terrific musical for musical lovers.

📸: M. Murphy, E. Zimmerman

From Where We Sat: The Palace Theatre

Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

The Palace Theatre

The Theatre: 

• 160 W. 47th Street
• Current capacity: 1648 seats
• Orchestra, Mezzanine,Balcony and Box seating

What We Saw There:

• The Lost Boys (review HERE)

Where We Sat: 

• We sat in Orchestra Row F, Seats 118 & 120. The seating in this theater has average leg room. The seats themselves are very comfortable and in new condition.

What We Paid: 

• $135.50 (Show Discount) These seats, at the Box Office, are $219.00 each. 

The Location: 

• With the renovation and raising of the theater, the entrance (and box office) is no longer on Broadway; now you enter on West 47th Street. The lobby is relatively spacious, and you enter the theater proper via escalators or stairs.
• Upon entering the theater, we were directed to the right aisle.
• Row F is the seventh row from the stage.

Seat Amenities and Exiting the Theatre:

• These seats are still new since the renovation and the seats themselves are quite comfortable. There is a comfortable amount of legroom.
• The rows of this part of the orchestra are at a soft rake, and seeing over the people in front is not a problem. The seats are far enough back that the stage is fully visible.  
• Restrooms are downstairs and a pretty fair hike from here.
• Exiting the theatre is easy, even with a large crowd. Between the staircase and the two down escalators traffic flows easily and rapidly. And now, with the exit onto 47th Street, instead of directly into Times Square, there is no uncomfortable blending into already big crowds. This is all a definite improvement.  
• We were out of the theater and on our way in about 5 minutes post curtain call.

Pre-Show

Start of Act Two

So how was the view*?

• The height of the deck is a non-issue from this point. 
• These seats were an excellent view, top to bottom. We were just far enough back to get the full stage picture at all times
• Of note with this production as designed, people seated in the first few rows on the sides will have an occasionally obstructed view, as the stage is pretty high, and at times the pit is used for staging, so seeing everything past that may prove difficult. Further, I have to imagine that all of the orchestra seating in the first 3 or 4 rows may have some trouble seeing all the way upstage. I would not recommend sitting too close.

The bottom line:

• I would definitely get these seats again. I also think sitting the the center mezzanine toward the front would be excellent.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at The Majestic Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• Aside from obvious view differences, the rear orchestra and rear mezzanine section seating offers a potentially limited view of the top of the stage area, crucial to this production. The back of the orchestra feels very far away. The front mezzanine offers a full view that doesn't feel very far away.  Finally, though more budget friendly, the side sections of the orchestra are almost certainly partial view as the set around the proscenium would block the upstage side of the view on whichever side you are sitting.

Review: The Lost Boys

Review of the Saturday, April 18, 2026 matinee preview performance at the Palace Theatre in New York City. Starring LJ Benet, Shoshana Bean, Ali Louis Bourzgui, Benjamin Pajak, Maria Wirries, Paul Alexander Nolan, Jennifer Duka, Miguel Gil, Brian Flores, Sean Grandillo and Dean Maupin. Book by David Hornsby and Chris Hoch. Music and lyrics by The Rescues. Based on the Warner Bros. Film, The Lost Boys. Story by James Jeremias and Janice Roberta Fischer. Orchestrations and arrangements by Ethan Popp and The Rescues. Vocal arrangements by The Rescues. Scenic design by Dane Laffrey. Costume design by Ryan Park. Wig/hair design by David Brian Brown. Lighting design by Jen Schriever and Michael Arden. Sound design by Adam Fisher. Aerial design by Gwyneth Larsen and Bill Mulholland. Choreography by Lauren Yalango-Grant and Christopher Cree Grant. Directed by Michael Arden. 2 hours 30 minutes with one intermission.

As someone who was the same age in 1987 as the main characters in the new musical The Lost Boys, I really appreciate the show does not present the 80s as a joke with ridiculous hyper-reality versions of people who lived then. Instead, the fun and issues of the day are presented as hand-in-hand aspects of society. There are visual nods to the era - the neon of storefronts (a video store, for example), skateboarders with finger-less gloves, and, of course, the big hair and a variety of mullet styles. (Kudos to costume designer Ryan Park and hair/wig design by David Brian Brown for keeping flashy but real!) It doesn't shy away from the politics of the time - Reagan figures prominently, urban decay and the closing of manufacturing plants that caused it are an important plot point. And there is even room for 80s music jokes that we made at the time (joking about wearing sunglasses at night was something we actually did!). So from the outset, I have to applaud book writers David Hornsby and Chris Hoch for an authenticity that helps center the craziness of the actual story.

Based on the critically acclaimed and commercially successful film of the same name, the property is today thought of in nostalgic, cult classic terms. Yet, somehow, this stage version feels so much more substantial. Maybe it is because physically, this show is mammoth. Maybe it is because it is legitimately scary and full of amazing special effects. But I think it is really because the show gives as much space to the coming of age/family story as it does to the vampire thriller story. Here again the book writers have elevated the piece by making it about more universal themes. Here, The Lost Boys aren't just the vampires, but the two young brothers navigating a new life in a new city as well. That all of this intertwines so perfectly is because director Michael Arden is really great at finding and uplifting the humanity in a story in such a way that it doesn't get lost in all of the spectacle, just as he did with Maybe Happy Ending. For all the moments my jaw dropped at what I was seeing, there were just as many emotional connections that made me really feel something visceral. All of that said, The Lost Boys isn't a heavy piece to be contemplated for long. In fact, it is a thrill ride of a show that earns every gasp, spontaneous applause and roars of approval.

A pleasant surprise for me was the rich score, a blend of moody rock songs, personal growth anthems, and even a couple of good old-school style Broadway production numbers. The Rescues, an indie pop/rock group, have created this often stunning score - music, lyrics, orchestrations (with Ethan Popp) and vocal arrangements. Their complete participation in creating the sound for Broadway really pays off. Each song is specifically and beautifully rendered, with absolutely stunning vocal arrangements, often using the ensemble to create background vocals in gorgeous - and wonderfully tight - harmonies. Among the standouts in a score full of them, there are two excellent duets, "Wild" and "Now, Forever," soaring ballads like "Lose Yourself," and fun numbers like "Superpower." (Rock star choreography by Lauren Yalango-Grant and Christopher Cree Grant.) But for me, the act finale songs, "Secret Comes Out" and "If We Make It Through the Night" were the very best. They have haunted my memories ever since I saw it; it has been a long time since the end of both acts of a show were so powerful. It is said that Arden brought them into the project, and it was an inspired choice. 

The story and characters don't get lost in all of the spectacle, but boy, is there spectacle! The elaborate and ever changing design is stunning, indeed, creating a virtually seamless cinematic feast for the senses. Don't mistake my use of the word "cinematic" for any lack of theatricality. No, there is an amazing only-on-the-stage feel to all of it. As designed by Dane Laffery (sets), Jen Schriever and Michael Arden (lighting), and Adam Fisher (sound), the stage is a kaleidoscope of images both sharply realistic and hauntingly fanciful. The nooks and crannies of the set fade in and out, with smoky, dangerous shadows. In fact, it is the murky lighting in the background that adds to the edge of your seat jump scares - you rarely see it coming! With elevator lifts throughout the set, including the orchestra pit, entrances and exits are always a surprise, and frequently jaw-dropping (the bridge scene...damn!). Not only do The Lost Boys have a kick ass concert venue and ride motorcycles, they have a seriously creepy lair. And let's not forget that they are eternally gifted with the ability to sleep upside down and to fly. Move over, Peter Pan, this flying (designed by Gwyneth Larsen and Bill Mulholland) is next level.

No matter how stunning this is to look at, it wouldn't matter without a top-notch cast to bring it to life. As I said, director Arden has a gift for bringing out the humanity in his shows, and with this company, it must have been a joy from start to finish. Not only is the ensemble remarkable, they are chameleons, each playing a dizzying number of parts. One can only imagine the backstage choreography! 

As the vampire fighting duo, The Frog Brothers, Miguel Gil and Jennifer Duka provide fun comic relief, even as they exude outsider and gender divergent energy. The joy of their performance is how they weave together the reality of being underdogs and the fantasy of their beloved comic books.

The Lost Boys - a rock and roll boy band if ever there was one - consists of Brian Flores, Sean Grandillo and Dean Maupin, who manage to be sexy, scary and hard rockin' all at once. All three are convincing as musicians, bad boys and vampires. Their collective allure is intoxicating, just as any bloodsucker should be. Band groupie/victim Star, a girl torn between her fate and saving others from the same, is played by Maria Wirries, a natural talent with an amazing voice, compelling presence and an effortless realness. Her vocals are phenomenal, and I look forward to her long, successful career.

 

The adults here are not clueless rubes as is often the case with teen centered drama. Instead, they are driven, if flawed people. As video store owner Max, Paul Alexander Nolan is a slick, too good to be true guy, who takes a dramatic turn at the end. It is interesting to watch him operate, insinuating his way into the family at the center of it all. I've seen Nolan several times, and this may be the best I've seen him - he is clearly enjoying this work. As Lucy, the newly single mom fleeing from an abusive situation, Shoshana Bean is impressive (her voice!) as we watch her character get stronger from admitting her weaknesses and learning from her kids. She is both mother and diva - the perfect Broadway combination.

As lead of The Lost Boys and leader of the vampires, Ali Louis Bourzgui is a sinister menace and is truly marvelous in all respects. As hinted at in Tommy, Bourzgui is a theater/rock star of the first order. He captivates and mesmerizes as he exudes a cool, intoxicating sexiness. All of that makes his charm in finding victims convincing.

The central characters are, in this telling anyway, the Emerson brothers, both fighting the demons of a painful upbringing, teen angst and each other. As Sam, the younger brother, Benjamin Pajak continues his streak of endearing characters and remarkable natural talent. His Sam is the people pleaser of the family, fiercely protective and enthralled by the super heroes of his beloved comic book collection. The evolution of his character includes him slowly realizing that he is queer, manifested as a super hero secret identity, naturally. His big number is "Superpower," complete with a rainbow of caped crusaders fighting an army of Draculas and a pair of Elviras (it doesn't get more 80s than that!). It is very funny and ultimately touching.

It is the performance of LJ Benet as the older brother, Michael, who starts out as teen anger personified that grounds the piece. He is driving his family away while getting closer to his chosen family - the lost boys all find each other in this decaying beach town. The role is a meaty one, and it is astonishing to think this is his Broadway debut! He has to do a lot more than sing and dance, and he does all of it with the finesse and a confidence normally associated with seasoned veterans. What a find!

If you haven't guessed, I loved this show. Pure escape, thrills and chills and a terrific score are what I always hope for. The Lost Boys was all of that and more for me. 

📸: M. Murphy

Review: The Rocky Horror Show

Review of the Saturday, March 28, 2006 preview performance at Studio 54 in New York City. A Roundabout Theatre Company production. Starring Luke Evans, Rachel Dratch, Andrew Durand, Amber Gray, Harvey Guillén, Stephanie Hsu, Juliette Lewis, Josh Rivera and Michaela Jaé Rodriguez. Book, music and lyrics by Richard O'Brien. Scenic design by dots. Costume design by David I. Reynoso. Lighting design by Jane Cox. Sound design by Brian Ronan. Intimacy coordinator Ann James. Choreography by Ani Taj. Direction by Sam Pinkleton. 2 hours including one intermission.

I suppose I should note, as director Sam Pinkleton did in his pre-curtain speech, that we saw the third-ever preview of the new Broadway revival of The Rocky Horror Show. A lot may have changed since we saw it nearly a month ago. To be blunt, I hope so. As it stood at the time, it was largely a boring mess of a show.

While I can appreciate the production's desire to return to the stage show's original campy over-the-top silliness and not all that comes along with the more successful cult history of the film, posting signs that say "don't be an asshole" and an essay in The New York Times detailing all the reasons why they don't really want the audience to participate does not foster much good will with audiences. At our performance, people called out with gusto at the start, but as the show progressed, it petered out until there was virtually none. How was this achieved? At first there were small pauses to allow for key lines to be shouted at the cast, then, increasingly, lines were delivered to cut us off until we collectively just gave up. I really enjoyed the 2001 revival, which not only embraced audience participation, they encouraged it! Between the narrator (the legendary Dick Cavett) admonishing us for not being loud enough, and the "props kit" they actually sold at the merch stand, an immersive experience made it a ton of fun. It also helped gloss over the shortcomings of Richard O'Brien's book and score. An interactive experience not only makes it less obvious just how bad it all is, it celebrates it!

A straightforward presentation lets everything show - the good, the bad, the ugly. The good news is that there were a few things that made the evening at least tolerable. First, there is the scenic design by dots, who have added elements to the hallowed walls of Studio 54, with string lights that cast the whole place in sickening green hue. There are long strands of construction ventilation tubing that snake around the walls and over the boxes where the orchestra is seated. This combination of rustic movie palace aesthetic (there is a false proscenium with broken statuary and fancy faded gold framing and a velvet curtain that has seen better days) and Frankenstein's laboratory fit both the framing device and sci-fi movie motif of the show. That said, the scenery revealed behind that curtain is somehow both too much and not enough, cheap looking but not in a purposeful way, but more like they ran out of money. Throughout the house and the entire performance, Jane Cox's lighting design is spot on and evocative, while David I. Reynoso's costume design manages to embrace what we've come to expect, while making it new and fresh. It works especially well in Frank-N-Furter's costumes that successfully distance this new take from the iconic outfits worn by Tim Curry. The most glaring and less successful change is in the costumes designed for Rocky, who now wears a wrestling singlet with dark lines that suggest he was pieced together instead of the provocative Speedo-like garment traditionally worn by the character. The new version is dramatically sound, but leaves one wondering why he isn't a little over the top sexy.

  

Realizing that at the point we saw it, it was still finding its footing, Pinkelton's direction is shocking in its relative conventionality (read: uninspired), there are a few moments that hint at what could have been. The sexual assault scenes between Frank and Brad and Frank and Janet are crazy, and dare I say fun??!! (Kudos to intimacy coordinator Ann James!) And Frank-N-Furter's entrance on a Studio 54 inspired set piece was hilarious and, well, inspired. To be completely honest, I only vaguely recall there being any real choreography (by Ani Taj), so that may be a good or bad thing depending on your point of view - A Chorus Line this isn't. On the other hand, "The Time Warp" should be something I remember vividly, right?

The best part of the evening was (most of) the cast, which included an ensemble of four "phantoms" who occasionally added to the attempted mayhem, but more often than not seemed in the way. Rachel Dratch used her deadpan Rachel Dratch persona to mixed effect as the narrator. One hopes as the run continues, she's allowed to loosen up just a tad and be a little more...Rachel Dratch. As Columbia, one of the assistants, Michaela Jai Rodriguez seems to be struggling with find her place in this, and is not aided at all by the shrill speaking and singing voice she's adopted for this. I was hoping for much more and better. Speaking of which, Harvey Guillén in the dual roles of Eddie and Dr. Scott, in both parts, his affected speaking styles render a good deal of his dialogue unintelligible, and he is the one actor I might say is too over the top. He is trying too hard, and he isn't doing us or himself any favors.

Much more successful is the scenery chewing fun that Juliette Lewis is having as Magenta, another assistant. She is quirky and funny, with just the right amount of danger. Even though she was ailing (her singing voice was a tad shaky), her performance was solid and well on its way to perfection. Similarly, the always amazing Amber Grey was a creepy riot as Riff Raff - loved the blonde braids and the stalking gait. I wish - as I always do with her - that she had more to do. As square peg Janet, Stephanie Hsu grew on me as the performance went on. At first, she seemed to be trying to get her footing, but as Janet became more...interesting, so did she. ("Touch-a, Touch-a, Touch Me" is a highlight.) I can only imagine how great she'll be now. The handsome Andrew Durand was pretty terrific as nerdy Brad, and reminded me of his turn in Head Over Heels as he becomes more aware of his characters' hidden sexuality. Like Hsu, I can only imagine how great he will be by opening night. (Also loved his blink-and-you'll-miss-it Dead Outlaw Easter egg!) As Rocky, Josh Rivera is fine, and does what he can with an under-directed role. He is unrecognizable from his most famous role, Chino in Spielberg's West Side Story.

The find of the production - and the only reason I'd ever consider seeing this again - is the glorious Broadway debut of Luke Evans, who as Frank-N-Furter, leads the company with the very best style and flair of any great leading man. He can sing, dance and deliver the zaniest of lines with such finesse you get lost in his performance. And boy can he make an entrance, which is a great thing since virtually every time he comes into a scene it is a star entrance! And everything you may have heard (or seen) about his finale costume is definitely not fake news! Let us all hope that this is just the first in a long (pardon the pun) line of Broadway performances. Bravo, sir!

More disappointing than satisfying, I had high hopes for a revival of a show I have such fond memories of, and directed by the "fun" director of the day. If only this revival was actually as fun as it could be.

📸: J. Marcus

Review: Beaches

Review of the Wednesday, April 8, 2026 matinee preview performance at the Majestic Theatre in New York City. Starring Jessica Vosk, Kelli Barrett, Samantha Schwartz, Joelle Gully, Sarah Bockel, Harper Burns, Ben Jacoby, Emma Ogea, Bailey Ryon, Brent Thiessen, Lael Van Keuren, and Zurin Villanueva. Book by Iris Rainer Dart and Thom Thomas. Music by Mike Stoller. Lyrics by Iris Rainer Dart. Based on the novel Beaches by Iris Rainer Dart. Scenic design by James Noone. Costume design by Tracy Christensen. Lighting design by Ken Billington. Projection design by David Bengali. Sound design by Kai Harada. Orchestrations by Charlie Rosen. Choreography by Jennifer Rias. Co-direction by Matt Cowart. Direction by Lonny Price. 2 hours 20 minutes including one intermission.

For me, Beaches has committed the worst sin in the musical theater. I didn't like it or hate it enough to care about it. It left me feeling nothing. And, frankly, that surprises me. Anyone who knows me knows I'm a crier. Happy events? Tears of joy. Overcoming a problem? Years of empathy and relief. And death of a sympathetic character? A dripping mess with an ugly cry face. For context, every time I hear the song "Wind Beneath My Wings" I get misty at the memory of the film. That's something when you consider that that movie came out in 1988!

Understand that everything and everyone involved in this new stage version is at least competent. But when you consider that this is a property with a wildly successful novel and two film versions, you'd think that all involved would bring their "A" game and really do something special with it, right? It is all the more stupefying when one considers that book writer/lyricist is Iris Rainer Dart, the same woman who wrote the novel. Instead, we get a script full of platitudes, sappy one-liners and a completely overused trope (more on that later). The music, largely pleasant, but completely forgettable is written by music legend Mike Stoller of "On Broadway" and Smokey Joe's Cafe fame. (Neither writer is associated with "Wind Beneath My Wings.") In short, the script and songs lack depth and even the tiniest bite to it. It isn't even good enough to be a Hallmark movie.

Obviously designed for its upcoming tour, the production looks cheap and way too little for the Majestic stage. The set (designed by James Noone) is mostly a series of panels that move on and off at quite a clip, not that you really need to look at it any more than necessary other than to register what at location we are.There is one baffling scenic element at the very last minute that would laughable if it wasn't so potentially dangerous to the conductor - I'm not spoiling that. David Bengali's uninspired projections are more reminiscent of Clip Art collages than anything Broadway caliber, which is a shame, as there was the potential for them to add something meaningful to this memory play musical. The costumes by Tracy Christensen are little more than functional, not revealing much beyond the esoteric traits of the characters. At one point, Little Cee Cee Bloom talks about making too much noise with her tap shoes. She isn't wearing taps. Why? The less said about the rest, the better. Kai Harada, as usual, has provided pristine sound design. It is no surprise that the one design element that is a step above the rest is the lighting, designed by ten-time Tony nominee (one time winner for Chicago) Ken Billington, whose color washes create more mood and feeling that rest of the production put together.

The small cast (a touring cost saving measure, I'm sure) features a few ensemblists in multiple roles, identifiable as different characters more by their by-the-numbers costumes than any remarkable acting. To be fair, the material they are given doesn't really allow for much remark-ability. 

The two male characters, gamely played by Ben Jacoby and Brent Thiessen, do the best they can with the thinly written husbands of the two ladies central to the story. Both are saddled with dialogue that teeters dangerously on the brink of misandry, and are little more than stereotypes. Thiesson did get the biggest reaction from the mostly female audience when he goes shirtless.

Dart's book (of the show) relies on what has become a trope in modern musicals - the central characters played by three actors at different stages of life, often appearing at the same time to add some sort of insight and/or emotional heft. It was done best by Fun Home, and only occasionally successfully since. Here, the teen Cee Cee and Bertie are around just enough to be noticeable, but not enough to be remotely necessary. Neither actress, Bailey Ryon and Emma Ogea, respectively, are to blame as they can only do what the script requires. More necessary and much better written, Little Cee Cee (Samantha Schwartz) and Little Bertie (Joelle Cully at our performance) have great chemistry and do an excellent job at not overplaying or being cloying child actors - the one emotional button this show doesn't try to push.

Both Jessica Vosk (Cee Cee) and Kelli Barrett (Bertie) are doing the very best they can with what they have been given, not to mention overcoming the inevitable comparisons to Bette Midler and Barbara Hershey. Neither Vosk nor Barrett are as good as their iconic predecessors, but it's not their fault, given the version they are working with. In fact, both are too good for this show.

That it took two people to direct this is maybe the biggest shock of the whole enterprise. Lonny Price and Matt Cowart offer little in the way of creativity or even a hint of emotional heft. You can tell the moments that are meant to tug at our hearts from a mile off, and yet none of them really register. And the staging itself is little more the walking on and walking off with a lot of standing around in between. The choreography by Jennifer Rias, such as it is, is more of the same but with running and hand holding. 

As for the big number everyone came to see, "Wind Beneath My Wings," it may be the biggest disappointment of the whole thing. Staged without any context (a drop suggests it is Cee Cee's TV show, but then the younger versions of Cee Cee start it and don't leave the stage, so who knows?) the song could have had much more impact. Why not have Cee Cee sing it to a dying Bertie, surrounded by all three ages of each character? That would have been at least interesting. As staged, it feels like it was tacked on to appease the fans of the film. 

I expected to be bawling at the end. Not a single tear. And judging by the lack of sniffles around me, I have to guess that I'm not the only one that was disappointed. 

📸: M. Franklin