The JKTS Fan Playlist 22-23 Season: Round 5: Bad Cinderella, Shucked and New York New York

 The JKTS Fan Playlist 22-23 Season:

Bad Cinderella, Shucked & New York New York

Each week, we'll create a survey of all the songs from 3 or 4 shows, and you'll select your 3 favorites from each show (only 3, please!). At the end of the week, we'll tally your choices and the top three from each show will go on to the next round, and so on until we've created a Fan Favorite "Playlist" of one song from each show. 

Up first is the 2022-2023 season, which had 6 musical revivals and 9 new musicals. The final 3 new musicals that opened that season, Bad Cinderella, Shucked and New York New York are on this week's survey. 

• Complete the survey by selecting up to three songs from each show. When you are done, you must tap the SUBMIT button for it to count.
• PLEASE NOTE: It may ask you for an email address to verify you are a real person, but it is NOT collecting your data
• If you would rather, you can email us: jktheatrescene@yahoo.com. Put Playlist Round 3 in the subject line. Then name the show and each of your choices.


Have fun and thank you for playing!

Review: The Wild Party

Review of the Sunday, March 29, 2026 matinee performance at New York City Center - Main Stage. Starring Jasmine Amy Rogers, Jordan Donica, Adrienne Warren, Tonya Pinkins, Jelani Alladin, Wesley J. Barnes, Joseph A. Byrd, Claybourne Elder, KJ Hippensteel, Andrew Kober, Lesli Margherita, Evan Tyrone Martin, Betsy Morgan, Meghan Murphy and Maya Rowe. Music and lyrics by Michael John LaChiusa. Book by Michael John LaChiusa and George C. Wolfe. Based on the poem by Joseph Moncure March. Orchestrations by Bruce Coughlin. Scenic design by Arnel Sancianco. Costume design by Linda Cho. Lighting design by Justin Townsend. Sound design by Alex Neumann. Choreography by Katie Spelman. Direction by Lili-Anne Brown. 2 hours with no intermission. This was the production's final performance.

"How's about a wild party?" snarls Burrs, a black-face vaudevillian with an even blacker heart. And damn, did City Center's Encores! deliver one hell of a Wild Party. As March's poem - and Michael John LaChiusa's brilliant and woefully underrated musical - promises, there's enough gin, skin and sin and this thrilling production to ignite every single one of your senses and then some. Having seen (and adored) the original Broadway production, I'll admit a certain amount of skepticism as to how this take would measure up. I'm a little surprised but pleased to say that I found this to be the superior of the two.

With LaChiusa's red hot jazz score thrives with a jarring pulse played by the Encores Orchestra under the baton  of Daryl Waters. The book, by LaChiusa and George C. Wolfe is as sinister and sexy as always, but now with a somewhat more dangerous vitality, it comes to life under the very tight, tense and claustrophobic direction of Lili-Anne Brown. An acclaimed regional director, Brown makes her New York debut with this show. What a debut! Like the poem upon which the show is based, her direction provides an ever-evolving living tableau of a microcosm of the American Jazz Age, and its decadence, excess and too little too late regret. There is much to look at in the sharply focused main action of each scene, while what is going on in the background offers a feast for those looking for more depth. Choreographer Katie Spelman adds both to the staging and controlled chaos of the era with sharp dance numbers and movements that facilitate a deeper understanding of the subtext. There's a lot going on here, most of it the uglier side of humanity, and it is nearly impossible not to get swept up in it all.

The design team perfectly captures, in visual terms, the themes of the source material, the commentary of the book and lyrics, and the concept of this presentation. All of the elements are impressive, but for me the biggest stand out is Justin Townsend's smoldering lighting, as impressive for what it shows us as for what it hides. What goes on in the shadows he creates are as illuminating as those bathed in harsh, theatrical beams of light. Then there are the stunning costumes by acclaimed designer Linda Cho, who allows us to merely glance at this rogues gallery and know quite a bit about who these people really are. It should be noted, too, that the costume design is just as effective when each character strips down to varying degrees. Kudos, too, to the hair and wig design by Tom Watson.In short, they are brilliant. Finally, there is the unit set by Arnel Sancianco, a blazing red apartment with every room on view simultaneously, compact and flexible with many doors that allow the place to morph into different playing spaces, and yet, one cannot escape the feeling that we are watching increasingly broken, angry animals in a cage, each vying for places to be seen and places to hide.

The cast of 15 is uniformly superb, each bringing their considerable talents to create characters that are equal parts broad stereotypes and keenly specific studies of humanity in a world of excess and self-indulgence. Sound familiar? The company provides a cross-section of society that runs the racial, gender and economic gamut. Each has a desire, and each has something to hide. As budding Broadway producers in over their heads and struggling with their Jewish-ness, KJ Hippensteel and Andrew Kober play the unwitting rubes to a room full of vultures with a crazy lack of irony (a good thing, as they seem as surprised at how things turn out as we are as sure of it from the moment they enter.) Then there's the former chorine Mae who gave it all up to be the blonde trophy girl of the boxing champ, played to the hilt by the always wonderful Lesli Margherita, who almost breaks your heart when she realizes she made a huge mistake. With her is the aforementioned boxing champ, a slab of arrogant meat played by Evan Tyrone Martin, who matches Margherita jab for metaphorical jab. Maya Rowe completes this trio as the youthful Nadine, Mae's sister nearly blinded by her dreams of the lights of Broadway. What happens to this character is troubling at best, and Miss Rowe handles her steady decline with an alarming dexterity.

On the sexual spectrum, we have lesbian stripper Miss Madelaine True (a robust and frank Meghan Murphy) and her sidekick/lover Sally, played by Betsy Morgan, who, in a mostly silent role, astonished with her unbelievable limberness - she makes Gumby seem stiff. (She also delivers the best exit line in 21st century musical theater!) Self-described as "ambi-sex-trous," there's Jackie, a guy who thrives in society as a people pleaser and clinger. He likes anything and anyone he can get his hands on. At first funny and charming, Claybourne Elder oozes and schmoozes with an endearing quality that takes increasingly darker turns as booze and coke begin to take their toll. His is ultimately a terrifying journey. Even by today's standards the incestuous relationship on full display is a shocking one, as Wesley J. Barnes and Joseph Anthony Byrd take on the roles of the Brothers D'Armano. The thin veneer of their four hands piano-playing act becomes even thinner as they are unafraid to display their affections - and frightening jealousies - in front of the other guests.

Original Broadway cast member Tonya Pinkins is back, this time as aging, but still glorious Delores Montoya, a woman who has been there, done that and holds all of her knowledge close to the vest, ready for one more shot at the spotlight. Like the true diva she is, both Delores and Ms. Pinkins know how to command a stage just by standing there. Every moment she is there is to be savored, and the audience lapped it up like cream. Brava!

As Queenie's best friend. Kate, with razor sharp claws (think Mame and Vera, only uber-vicious) Adrienne Warren is a dazzling presence, a singer/dancer/actress of a caliber that is rarely seen. What a thrill to see her grow yet again. Kate brings with her a hot man, a "moocher," to purposely stir up trouble. His name is an enigma - Black - and he is played with a suavity and cool detachment by Jelani Alladin. He's pretty amazing, and completely the opposite of his most famous role to date (Kristoff in Frozen). This kind of range bodes well, and I am already looking forward to whatever he does next! Of note, his sensuous duet with Rogers, "People Like Us," is a highlight of the evening.

As much as The Wild Party is a true ensemble piece, the success of it all surely rests on the performances of Queenie and Burrs, a co-dependent pair of nearly spent vaudevillians - she's a dancer, he's a black-face clown. This production has found the perfect pair in Jasmine Amy Rogers and Jordan Donica. Their palpable chemistry is all the more mesmerizing as they spar and abuse each other to the point of mutual destruction. Donica is violent and vicious as described, and downright scary as he writhes and seethes, literally spitting out his anger pain. And, Ms. Rogers is everything I've read about her and so much more. The role fits her like a glove, and her presence is like that of only Broadway's most famous divas. For my money, they are giving the leading performances of the season. All four of these main performers - Rogers, Donica, Warren and Alladin - give me great hope for the future of Broadway.

This is the best Encores! production I think I've seen, which is really saying something given their success with such challenging shows as Titanic, The Light in the Piazza and The Most Happy Fella. This is one party I am so glad I didn't miss.

📸: J. Marcus

Broadway Musical Logos: 2025-2026 Season: Beaches

Broadway Musical Logos:

2025-2026 Season: 

Beaches

Sometimes, a show's logo hits all the right notes and still somehow missed the mark. Such is the case with the logo for Beaches. 

It is attractive enough. Blue skies, sunny yellow,and of course, a sandy seaside beach serve a straightforward sans serif all caps font in a pleasant orange. the most creative aspects of it is that the distant shoreline is blurred as if in a memory, and sunbeams peek out between the letters. Even the tagline, "A Love Story About Friendship" doesn't quite pack the wallop I'm sure the producers think it might.

The horizontal version of the key art offers a bit more, but it really only means something significant if you are familiar with the film version. The two young girls with their back to us are dressed in outfits not unlike those worn by the child versions of characters made famous by Bette Midler and Barbara Hershey. On the left is the red flapper dress worn by perpetual entertainer Cee Cee Bloom (the child played famously by a young Mayim Bialik), while on the right we have the sweetly prim Bertie in a dress to proper for the beach and pink ribbon in her hair.

Obviously, we are supposed to make the connection that this childhood friendship endures. I wonder why, for example, they didn't have the older adult versions of these characters on the other side of the logo? A lifelong love story about friendship, right?

Like I said, this is fine for what it is, and I imagine they'll make a killing on canvas beach bags/totes with that simple design printed on it. That's not enough if you ask me. It could have been so much more.

Grade: C

 

Friday 5: 5 Male Musical Performances to Look Forward To This Spring

Male Performances

to Look Forward to This Spring

The wonderful things about this list is that I didn't have to really stretch to pick 5. In fact, I narrowed the list down from 15! The 5 I settled on includes a full range - from a Broadway debut and a young actor growing up in front of our eyes to an emsemblist now in a featured roles and a long time favorite back after a few years. (And no worries, the ladies will get their due next week.) 

Max Clayton (Danny Bailey - Schmigadoon!)

In a cast list that reads like a who's who of current Broadway regulars, Max stands out to me as a performer I've enjoyed many times in terrific ensembles (Moulin Rouge!, Hello, Dolly!), and is now creating a supporting characters all his own. (We missed him when he went on for Hugh Jackman in The Music Man.) I wish him well, and look forward to watching him shine in a spotlight all his own.

Luke Evans (Frank-N-Furter - The Rocky Horror Show)

Ever since he wowed me as Gaston in the live action Beauty and the Beast, I've been hoping to see this guy on the Broadway stage. Wishes come true! As he dons the fishnets of the iconic transsexual from Transylvania, it'll be fun to see him be a little crazy and let loose - at least I hope he will. No matter how it turns out, it's such an honor to be there when a performer makes their Broadway debut.

Sydney James Harcourt (Rum Tum Tugger - Cats: The Jellicle Ball)

Somehow, despite his being in a couple of Broadway's biggest shows - Hamilton, American Idiot - we have missed him. And now I'm extra excited to see him play one of mega musical's most iconic roles in a way it has never been played before. I know I'm not alone in being thrilled to see this curious cat strut his stuff!

Benjamin Pajak (Sam Emerson - The Lost Boys)

Every few years, a young kid really dazzles in their Broadway debut, as this young man did in The Music Man. He was natural and wonderfully endearing. And now, he's in a teen-angsty role in a teen-angsty horror musical. I'm guessing it's a far cry from River City! But the real excitement is watching him grow up before our eyes. Like Nicholas Barasch before him, Benjamin Pajak is on his way!

John Riddle (Cal Hockley - Titanique)

I've been smitten with this guy since the first time I saw him as Young Anton in The Visit. He has a variety of talents from leading man suavity and cruel villainy to male ingenue and what I hope will be a silliness that not only sends up the Titanic film villain as well as a send up of the roles he's famous for playing! Plus, he's so darned handsome!

The JKTS Fan Playlist 22-23 Season: Round 4: KPOP, A Beautiful Noise, and Some Like It Hot

The JKTS Fan Playlist 22-23 Season:

Round 4: KPOP, A Beautiful Noise

and Some Like It Hot

Each week, we'll create a survey of all the songs from 3 or 4 shows, and you'll select your 3 favorites from each show (only 3, please!). At the end of the week, we'll tally your choices and the top three from each show will go on to the next round, and so on until we've created a Fan Favorite "Playlist" of one song from each show. 

Up first is the 2022-2023 season, which had 6 musical revivals and 9 new musicals. The next 3 new musicals that opened that season, KPOP, A Beautiful Noise and Some Like It Hot are on this week's survey. 

• Complete the survey by selecting up to three songs from each show. When you are done, you must tap the SUBMIT button for it to count.
• PLEASE NOTE: It may ask you for an email address to verify you are a real person, but it is NOT collecting your data
• If you would rather, you can email us: jktheatrescene@yahoo.com. Put Playlist Round 3 in the subject line. Then name the show and each of your choices.


Have fun and thank you for playing!

Broadway Musical Logos: 2025-2026 Season: Titanique

Broadway Musical Logos:

2025-2026 Season: 

Titaníque

I always love it when a show's key art really reflects what the show is about and has a matching tone to the piece itself. As advertising, the public will really know what it is getting. As Broadway logo art, it gives those of us obsessed with such things plenty to chew on. Such is the case with the logo work for Titanique.

Everything about this says, "parody" and "fun," even if you do need some knowledge of the musical to fully get it. Once you know that woman is playing Celine Dion, you really get it. That smug, cocky grin is quintessential Celine. But lest you think this is a rehash of the blockbuster film as told by the Vegas entertainer that dominates the key art, you only need to look at two things. One, she is bursting through the iconic movie poster, with just enough Kate and Leo still in sight. And two, she's wearing a gold sequinned gown and holding a microphone. She did not book passage on the ill-fated love boat.

Then there are the two taglines. The top one addresses both the homage to the film and the identity of the woman to the left. And it is a cheeky play on words! And the second, more traditional tagline very effectively sends up that tradition and plays off the spray of a ship hitting an iceberg and the play on a jazzed up event. Has the word "splash" ever done that much work before?

Another iteration of this horizontal show art wisely plays up the names that they have assembled for this romp. Here again, it works in a twofold fashion. First, after its long off-Broadway run, theater goers in the know will want to know why they should spend Broadway level money on something they saw much cheaper last year. Second, and maybe more importantly, to grab the tourists (and to justify Broadway prices), they need famous names. Plus, the logo geek in me loves that they are in golden ovals, reminiscent of turn of the last century portraits.

Finally, the icing on the cake for me is the terrific choice of title font, slightly upgraded for its Main Stem sailing. Is it the rivets holding the letters together better than the real ship's bolts did? Is it the jaunty nod the Dion's French-ness with the accent over the second "i"? Or is it the fabulous gold the forces the letters into 3D? I'm going to say it's all three!

This is one clever piece of key art. I hope my maiden voyage on the Titanique is as enjoyable later this spring.

Grade: A+

Broadway Game: Musicals Connected

This season's final shows are gearing up to start performances in the coming weeks. When all is said and done, there will be 12 musicals that have opened during the 2025-2026 season, 6 new musicals and 6 musical revivals. What's cool is that each of them has at least one connection to another. Talk about one degree of separation!

Broadway Games:

Musicals Connected

How are each pair connected to each other?

 

1. The Lost Boys/The Rocky Horror Show

    a. Both feature a rock group as central characters

    b. Both feature an actor in a leading role that is making their Broadway debut

    c. Both have or are playing the Palace Theatre

    d. All of the above

 

2. Mamma Mia!/Beetlejuice

    a. Both shows have at some point played the Winter Garden Theatre

    b. Both shows were on Broadway as part of their National Tours

    c. Both shows include jukebox songs in their scores

    d. All of the above

3. Beaches/The Queen of Versailles

    a. Both have jukebox songs as part of their scores

    b. Both have the same orchestrator

    c. Both feature writing teams that include the authors of their source material

    d. None of the above

4. Schmigadoon!/Two Strangers (Carry a Cake Across New York)

    a. Both feature book writers making their Broadway debut, but not the composer/lyricists

    b. Both feature composer/lyricists making their Broadway debut, but not the book writer

    c. Both shows feature a book writer and composer/lyricist making their Broadway debut

    d. None of the above

5. Chess/Titanique

    a. Both shows feature songs that were Billboard Chart pop hits

    b. Both shows have no credited book writer

    c. Both shows feature at least one principal actor that has won a Tony Award

    d. All of the above

6. Cats: The Jellicle Ball/Ragtime

    a. Both have cast members who appeared in the original Broadway cast

    b. Both shows feature the same scenic designer

    c. Both shows are currently on their second Broadway revival

    d. None of the above

The JKTS Fan Playlist 22-23 Season: Round 3: Almost Famous, Kimberly Akimbo, & Juliet

The JKTS Fan Playlist 22-23 Season:

Round 3: Almost Famous,

Kimberly Akimbo, & Juliet

Each week, we'll create a survey of all the songs from 3 or 4 shows, and you'll select your 3 favorites from each show (only 3, please!). At the end of the week, we'll tally your choices and the top three from each show will go on to the next round, and so on until we've created a Fan Favorite "Playlist" of one song from each show. 

Up first is the 2022-2023 season, which had 6 musical revivals and 9 new musicals. The first 3 new musicals that opened that season, Almost Famous, Kimberly Akimbo and & Juliet are on this week's survey. 

• Complete the survey by selecting up to three songs from each show. When you are done, you must tap the SUBMIT button for it to count.
• PLEASE NOTE: It may ask you for an email address to verify you are a real person, but it is NOT collecting your data.
• If you would rather, you can email us: jktheatrescene@yahoo.com. Put Playlist Round 3 in the subject line. Then name the show and each of your choices.

Have fun and thank you for playing!

Broadway Musical Logos: 2025-2026 Season: Cats: The Jellicle Ball

Broadway Musical Logos:

2025-2026 Season: 

Cats: The Jellicle Ball

It surprises me, pleasantly, that the logo for Cats: The Jellicle Ball is my favorite so far this season. That surprise comes due to how much I loved the original, iconic logo with its yellow dancer eyes and its simple, evocative font. So why do I love this one nearly as much?

First of all, I love how it plays homage to the original. It is primarily black and its featured image is as synonymous with this iteration of the show as the cat-like dancers were with the original. I also appreciate the similar austerity of the font used here, that resembles the kind of lettering that might be used on a flyer for a drag ball. 

I absolutely love the central image - a cat shaped mirror ball! Clever and perfect for a drag ball gathering of the Jellicles. And I can't be alone in hoping that I can buy one at the show's merch Booth, can I?

It meets all of the criteria for a successful show logo: it is eye-catching bright yellow on black (and the opposite) which will immediately draw the eye. Further it is simple and easy to get in a simple, quick glance. Everything you need to know and will likely remember in mere seconds. And the iconography is fun, stylish and memorable (no pun intended).

As a theater lover, I also appreciate how it is both respectful of its roots, but makes its own statement. And I'm not just talking about the title change. The original off-Broadway key art was, I think too close to the original, and leaving one to think it might just be an esoteric overlay of a concept on what is essentially the same show. Only after seeing it, and coupled with extremely positive word of mouth would one think you weren't seeing a rehash of the 80s mega-musical.

Subsequent iterations of the new logo have only enhanced and verified my initial take on it. Now, some of the advertising features a switch of colors - a bright yellow background with black titling. Still other key art shows dancers in poses representative of the ball culture: runway, realness, face, body and Vogue. Even the tilted cat mirror ball suggests that this will set the Cats we think we know on its ear.

Still further versions get even more clever - a simple "Meow" suggests a fun cattiness (pun intended), and the fan is a standard prop at these types of events. Plus, it's fun that they brought back the eyes. I love them all!

Finally, it all comes together, as it should on the marquee of the Broadhurst Theatre.

I must admit that my take on all of this is greatly informed by my recent viewing of the documentary Paris Is Burning which takes a deep dive into the drag ball culture from its roots right up until its release in 1990. It provided me with a new knowledge and understanding that will certainly help me enjoy the revival of Cats even more. If you get the chance to see the film do it.

Grade: A+

Review: Next to Normal (Regional Theater)

Review of the Friday, March 13, 2026 performance at the M&T Bank Exchange at the France-Merrick Performing Arts Center in Baltimore, Maryland. An Iron Crow Theatre production. Starring Allison Bradbury, Danny Bertaux, Brashley Stein, Alexandra Lopez, Jason Zuckerman and Pat Collins. With Kelly Mok, Heather Nicole Reed, Dani Rizzo and Jake Stibbe. Music by Tom Kitt. Book and lyrics by Brian Yorkey. Scenic design and technical direction by Bruce Kapplin. Costume design by Tiffany Zellner. Lighting design by Thomas P. Gardner. Video design by Chris Carcione. Sound design by Zach Sexton. Intimacy direction by Shawna Potter. Musical direction by Michelle Henning. Direction by Natka Bianchini. 2 hours 25 minutes, with one intermission. This production played its final performance on Sunday, March 15, 2026.

Over the weekend, we had the opportunity to experience a couple of theater firsts here in Baltimore. First, we attended the theater in a relatively new venue, the M&T Bank Exchange, a space that was a bank a long time ago, three stories tall, adorned with stunning stained glass windows. Today, it is multi-purpose facility, reconfigurable for everything from fashion shows and weddings to corporate events, and, of course, theatrical productions. (It is attached to Baltimore's Broadway touring house, the France-Merrick Performing Arts Center.) The other first was our first production by the professional theater company, Iron Crow Theatre, Maryland's queer theater company. Their definition of "queer" encompasses a broad spectrum of ideologies, remarkable in its inclusiveness. It was their production of the Pulitzer Prize winning Next to Normal that drew us to this unique group.

While this is not the first local professional production of this show we've seen, it is, unfortunately, the most uneven. Don't get me wrong, here. The fact that they are even attempting this complex piece is admirable. And where it is strong, it is wonderful. But there are a few rather glaring things that take what would otherwise have been amazing down to uncomfortably cringe worthy. First, Natka Bianchini's direction is uneven, with awkward scene transitions that cause a lack of flow, and still other times where side scenes detract from the main action. Yet, there are other times where the staging is inventive and interesting, including the use of a variety of projections and video (designed by Chris Carcione) that offer insight into the thought processes of the struggling main character, and add depth to the ethereal character of Gabe, her son. But then there are moments that feel more community theater than professional - an ensemble (more on them in a minute) employed to fill the stage yet clearly struggling to find their purpose for being there, and little things like having chairs on wheels that the actors lift up to move rather than roll them. Likewise, Tiffany Zellner's costume design lacks any cohesiveness and feel more like last-minute thrift shopping than any sort of character development.

The mixed bag that is the casting is probably the thing that hurt this potentially great production the most. One has to wonder why it was decided to add a four person ensemble to the cast. On paper, I'm sure it seemed like a great way to add to the show - it becomes crystal clear only in the final moments of the last song that all four represent the Goodman family members, when they literally shake hands with each other. In retrospect, there were other hints earlier, though at the time they just felt distracting. Then there's Danny Bertaux, miscast as Dan, the father trying desperately to keep his family together. Slump shouldered and a mostly blank face beyond looking sad when Dan is sad, he carries the tunes of Tom Kitt with little flair, and Brian Yorkey's lyrics with little more than perfunctory expression. That all of the other main characters do so much more than that makes him stick out in all the wrong ways. Brashley Stein, playing the enigmatic Gabe, has a terrific voice, and sings the role very well (his "I'm Alive" is a highlight), and yet his physicality is at odds with his vocal performance. He's more spirit fingers and sweeping gestures than a spirit with controlling gestures. He also looks like he could be Dan's brother than his 17 year old son. To be fair both of the Goodman children look like contemporaries of their parents than their offspring. Finally, there is Pat Collins as doctors Madden and Fine, who might be a perfect Little Shop Mushnik or Seymour, rather than a charismatic "rock star." Still, Collins sings both roles very well and even manages to sprinkle in some lighter, funny bits.

On the considerably brighter side, what there is to recommend here is really outstanding. The small band, led by Michelle Henning, plays this challenging score extremely well, too. Given the sheer size of the space, the sound design could prove difficult, yet Zach Sexton's efforts are laudable, with no balance issues and clarity throughout. Similarly, Thomas P. Gardner's lighting design creates both intimate moments and expansive lighting that somehow includes the audience and makes full effect of the huge space. It also supplements Bruce Kapplin's interesting scenic design which incorporates Carcione's video design. The design elements here are sharp and professional.

The cast also features three real aces. As the lovable stoner Henry, Jason Zuckerman is instantly endearing and carefully crafts a portrait of a loving teen and likely successor to the head of the family years from now. His chemistry with Alexandra Lopez' troubled teen  Natalie is palpable from the first seconds they are together. Lopez deftly navigates the complexities of a girl desperately trying to seem detached from her family, yet hungry for their love and attention. What is wonderful about this pair is how they complement each other as they journey from an oil/water duo to a lovingly dependent couple.

Finally, and most importantly, there is that winning performance of Allison Bradbury as Diana, the central character who struggles with mental disorders - inaccurately diagnosed most of the time - and the overwhelming grief of losing a child. She sings and acts this difficult role with an ease and quality that makes you feel confident that you are actually seeing her go through each trial and tribulation. Her profound sadness and fear of never being a "normal, loving mother" informs every moment of her terrific performance. 

Despite its unevenness, I am so glad to have seen this performance of one of my favorite pieces of musical theater, and especially having discovered an important new (to me, anyway) local company. I already look forward to seeing their future productions.

📸: W. Freeman