Other Musicals: Synopsis & Reviews

We've separated our touring company reviews into 4 alphabetically ordered sections, depending on what point in the life of the show we saw the production in.
Pre Broadway Tours New shows on their way to the Great White Way.
Broadway Touring Companies Shows that are now or have been on broadway that have branched off into touring comanies as well.
Revivals Including revivals just touring around and revivals on their way to broadway.
Other Stuff Stuff that doesn't fit in anywhere, like ice shows and Las Vegas shows.
If you're interested in shows we saw on Broadway in NYC, click here. Those who have seen these shows will notice that we've oversimplified the plot synopses a bit, but there are so many shows here that we had to do something to keep the page from being a million miles long!

WASHINGTON, DC'S NATIONAL THEATRE BLATANTLY DISREGARDS SAFETY OF ITS PATRONS-Here's a tidbit for those of you who frequent this theater. The National Theatre has NEVER cancelled a performance in the event of a snow emergency. We were very angry when we called the theater December 19th, 2000 to find out we had to go to see the show we had tickets for, because they weren't cancelling the performance, and they weren't giving refunds, either. There was a nasty snowstorm going on, and yet we had to risk life and limb to go see a show, or be out the $100 we spent on the tickets. We don't live close enough to DC or it's subway system, so we had to drive all the way in. Remember this if you ever buy tickets to a show during the winter! The only good thing that came out of it (besides seeing a fantastic show) was having the best theater experience we've ever had. We were completely comfortable, because we wore sweatsuits to the show, figuring since we HAD to go, we might as well be comfortable. Any other time, we dress up nice 'n' spiffy, but in protest (and to avoid breaking our behinds on icy sidewalks), snowboots and sweatsuits were the only thing the crummy National Theatre managers were going to get out of us.

PRE BROADWAY TOURS

This section includes new shows on tour prior to a Broadway opening and also new shows that were SUPPOSED to be on tours prior to a broadway opening, but cut the tour short due to bad reviews or some other nonsense like that.

UPDATE! Well folks, there is life after getting snookered out of a Tony. This production of "State Fair" actually went back out on tour after it closed so quickly on Broadway. Seems like "State Fair" got a reprieve after all! Who needs a Tony, anyway?

Whistle Down the Wind

January, 1997; National Theatre, Washington, DC. Webber's musical adaptation of the film starring Hayley Mills. A stranger arrives in a small Louisiana town before Christmas, 1959. Is this Jesus Christ, as the children are led to believe, or is it the escaped convict that all the adults are looking for? Another great musical by Andrew Lloyd Webber! The music is fantastic, the company works very well together. All in all, very enjoyable. This show was on its way to a Broadway opening, then was pulled for extensive rewriting due to bad reviews. It just goes to show you, you can't always trust reviews, because we liked it. The storyline was a little loose, but that's to be expected. We were among the first in the nation to see it. You can't expect a new musical to come out perfect. That's the point of touring before you hit Broadway-you can work the bugs out, as they probably did with "Jekyll and Hyde" (reviewed above). Kids over 12 probably will enjoy it.

Update: After an 18 month run, the production on London's West End closed. There were plans to bring it to Broadway within the next year, but so far we haven't seen any announcements. A soundtrack is available.

BROADWAY TOURING COMPANIES

This section includes shows currently playing on Broadway that have instituted touring companies, and shows that have closed on Broadway but went out on tour right afterwards.

A Chorus Line

November, 1991; Lyric Theatre; Baltimore, MD. Marvin Hamlisch wrote this musical about a group of actors and actresses in 1975 trying out for the chorus line (the people who aren't the main actors and actresses in a musical) in a Broadway show. The actors and actresses each tell why they wanted to be in show business and how they did it, all desperately wanting a place in this particular chorus line. Naturally, they can't all be picked; there are only so many openings. Who will be left behind? This show, until recently, was the longest running on Broadway. It closed a couple of years ago after thousands of performances, but still pops up as a touring company from time to time. When it comes your way, don't miss it. The music and dancing are great, and you'll probably see a little bit of yourself in one of the characters. After all, we've all dreamed of being on the stage at one time or another, haven't we? Kids over 12 will enjoy this show. CD available

Beauty and the Beast

Summer, 1996; Kennedy Center, Washington, DC. Disney's live stage production of its Academy Award winning cartoon musical, based on the old Grimm's fairy tale. A prince is turned into a beast, who must learn to care for others in order to regain his humanity. A girl agrees to stay at his castle, never to leave, in exchange for her father, who was being held in the dungeon. See the tour or see it on Broadway while it's still there, because you're in for a treat! If you liked the movie, you'll love the musical. The music is great, naturally, the cast works together perfectly. Make sure you watch the costumes of the people who live in the Beast's castle, because they will gradually become more and more like the item they are dressed as, as the show progresses. Children who liked the film will like this, too, but kids under 10 should probably be left home. The Beast in this live production is more scary than the film, and there are pyrotechnics which may startle them and make them cry. CD available for the show and the movie.

Cabaret

August, 1999; Warner Theatre; Washington, D.C. Kander and Ebb's dark musical set in a Berlin nightclub just before WWII, is based on 2 books: Christopher Isherwood's Berlin Stories and John Van Druten's I Am A Camera. The story follows a number of people who frequent the Kit Kat Club, but the main plotline is the love affair between the cabaret singer Sally Bowles and an American writer and the different ways they deal with the changes Germany is undergoing during Hitler's rise to power. This revival of one of Kander and Ebb's best musicals is fantastic. They've made the undertones of the story much more gritty-you really get the feel of a seedy nightclub here. The cast really works hard to look bad-most of the outfits they wear look like they've been around an age and a half, including stockings with huge runs in them, and the emcee wearing only suspenders with a bow tie stuck in the middle of them, unlike Joel Grey's complete tux that was seen in other productions. The singing and dancing were great, as well-much more raunchy than either the movie or other productions in the past. Overall the cast did a wonderful job making the audience feel as if they were really there. The set design was done very well, too-there are marquee lights everywhere, including out in the audience, but there are plenty of burnt out ones, to make it more real. In the Broadway production, most of the audience is at actual nightclub tables, which probably adds to the feeling as well. Unfortunately, there are only 4 tables at the very front in the touring production. The band is on the stage, as it should be in a cabaret, and the girls who dance on the stage also double as band members, which was another bit of realness added. The great thing is that the band as a whole doesn't have that smooth all together quality of a normal professional orchestra-this is on purpose, and it must be much more difficult to make it a point not to sound too teriffic, especially during one of the songs where the sax player makes his instrument squeak (it shouldn't do that normally). All of this combines to give the Kit Kat Club an overall ugliness that adds greater depth to the production. This show is an absolute must see-don't miss it. And don't think that just because you've seen the movie (starring Liza Minelli and Joel Grey-available on video) that you know it all-there are numbers here that weren't in the movie, and there are also quite a few surprises in the plot that you won't expect. Especially the ending-it's quite different. Under no circumstances should you take kids under 15-it's much too provocative and sexy for them to handle. Besides, you really don't want to have to explain that stuff to them after the show, do you? Cast albums available for all productions, including the current one.

Cats

March, 1987 & 1995; Lyric Theatre; Baltimore, MD. Webber's musical adaptation of "Old Possum's Book of Practical Cats", a poem book by T.S. Eliot. Set in a junkyard, a number of cats get together to tell their stories and pick the cat most deserving of the journey to the "Heaviside Layer". This is what I'd call a can't miss show. We've seen it more than once and it's great every time, which is probably why it's been running so long on Broadway. According to friends, there is one difference between touring companies and the show playing on Broadway. The show is staged using the entire theatre on Broadway, since it's a permanent production, so the cats will come into the audience much more than they do in the touring company. But don't let that stop you from seeing the touring show. The kids will love it, and so will you. CD available.
UPDATE: After 15 years on Broadway, the show is finally closing. However, the touring companies will probably live on and on.
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Chicago

May, 1999; Mandalay Bay Theatre, Mandalay Bay Hotel & Casino; Las Vegas, NV w/ Chita Rivera, Ben Vereen, Stephanie Pope, Ernie Sabella, and Marcia Lewis. We've already seen the Broadway production of the show, so for a plot synopsis and other information, click here. Most Las Vegas versions of shows are scaled down versions, but this is a full, uncut version of the Broadway hit written by John Kander and Fred Ebb. Once again, we loved the show. Chita Rivera played a sensational Roxie Hart and Stephanie Pope was a fantastic Velma Kelly. It was great to see Ben Vereen as the lawyer Billy Flynn and, of course, we were glad to see Marcia Lewis reprise her role as Matron Mama Morton. She's the best! The Mandalay Bay theatre is quite a nice place for the show. If you want to splurge, spend the $85 and try to get into the first 7 rows. When we saw the show on Broadway, we were way back in the balcony, but for this one, we were in the center of the 2nd row and it was even more fun than the first time. This is the first time a true Broadway show has been put on in Las Vegas and hopefully it won't be the last. Here's to a long run for a great show. It certainly is in the right place.

The Civil War

February, 2000; Mechanic Theatre, Baltimore, MD w/ John Schneider. Frank Wildhorn's pop musical about the Civil War. The story follows 3 groups of people through the years of the war: a group of Union soldiers, a group of Confederate soldiers, and a group of slaves, newly arrived from Africa. You may recall our complaints about the handling of this production from the "Musicals that Never Got a Chance" section of the website. (Click here to read them.) We were right. The critics did give it a bad rap. All the music is very pop styled and alot of people complained that it should have been "period music". "Period music" would have made for an unbelievably boring show. No offense to fans of music of Civil War times-the problem lied in that there wasn't a real thick storyline. Waltzes and Virginia reels just wouldn't have held audience interest. The point is to keep audience interest in order to teach them some basics about the Civil War. We really enjoyed the show. The music was great and everyone did a fine job of making it an enjoyable afternoon. We highly recommend you check this one out. Children over 10 will enjoy it and learn something, too. The CD that is out is a full version of the show, but it's not like a cast recording. What they did instead was get a bunch of pop and country music stars(which doesn't sound right) to record the songs, with greats like Maya Angelou doing the monologues inbetween.

Contact

March, 2002; National Theatre, Washington, DC. A different kind of show, but still considered a musical, even though there's no singing. Susan Stroman and John Weidman collaborated on this set of 3 short stories combined to make one show. The show is all about dancing. The first story, set in 1767, is about a picnic in the forest, 2 guys, a gal, and a swing. The second story, set in 1954, is set in an italian restaurant, where a woman dreams about how nice it would be if her boorish husband wasn't around. The third story, set in modern NYC, is about a guy who seems to have it all, but still is on the verge of suicide. That is, until he meets a beautiful lady in a yellow dress who dances up a storm. This show won the Best Musical Tony award for 2000, and it's easy to see why. The choreography is top notch-Susan Stroman's exploration of dancing is a neat idea, and it comes off wonderfully. We originally weren't sure this would be our cup of tea, but we're glad we saw it, and recommend it. We don't think it's for everyone, though-kids under 15 that aren't show fanatics won't appreciate it, and it might even be considered too slow for anyone that needs a fast paced tempo in order to enjoy themselves.

Fosse

December, 2000; National Theatre, Washington, DC. A tribute to the great director/choreographer Bob Fosse, put together by Ann Reinking and Gwen Verdon. Now we see why it won the Tony for best musical. It's a great show. There is absolutely no storyline, but that doesn't matter. Some of Bob Fosse's best work is recreated here, including stuff from Cabaret, Sweet Charity, Kiss Me Kate, his movie "All That Jazz", and a number of TV specials. The cast is top notch and Ann Reinking did a bang up job choreographing the show, doing her best to recreate some fantastic numbers, the most touching of which is "Mr. Bojangles." Do see this show when it tours in your area, you won't be dissapointed. Kids under 12 will be bored. There's a soundtrack available.

Kiss of the Spider Woman

1994; National Theatre, Washington, DC w/ Chita Rivera. A fantastic Kander and Ebb musical, based on the novel by Manuel Puig. (We saw this first on broadway, so for a plot synopsis, see the listing in the Broadway reviews section.) Most of the original Broadway stars were in this company, so naturally we enjoyed them. However, this being a touring company, the staging was different in a few places. The National Theatre wasn't really a good venue for this show. It's an older theatre and mezzanine seats aren't set up very well, so when the Spider Woman does her climbing high off the stage, it was really hard to see. This was not the case in the New York production. Also, the way the jail cell walls change around are a little different, since it wasn't a permanent production. These few things didn't change the fact that we liked the show, however, and besides, the real reason we came was because we missed Chita Rivera on Broadway, anyway. Getting a chance to see her fantastic dancing made it worthwhile. Again, if you can go see it, due to subject matter (prisoner torture, other adult subjects) kids over 16 should be OK with it.

Les Miserables

April, 1992 and July, 1994; Mechanic Theatre, Baltimore, MD. Boubil and Schoenberg's musical adaptation of the classic Victor Hugo novel. A paroled criminal changes his identity when potential employers shun him for being a convicted felon. His past forever haunts him in the form of a policeman who has devoted his life to finding him because he broke his parole. A powerful, emotional musical. This one comes around on tour alot, so you'll have plenty of chances to see it, which you must, because it's one of the best musicals ever written. Beautiful music and a suspenseful storyline will move you like nothing else. Check out the concert version that PBS stations show from time to time. If you go, kids over 12 will be old enough to understand the show. Available on CD.

Mamma Mia!

April, 2002; National Theatre; Washington, DC. We first saw this musical in London, where it's a smash hit and is still running strong. Benny Andersson and Bjorn Ulvaeus took 22 hit songs they wrote with their group, ABBA, and created a storyline to go around them. (Read our review for the original London show by clicking here.) The American run of the show is just as good as the one we saw in London, which we weren't sure would be true, since people in America aren't as nuts about ABBA as they are in England. They even camped up the storyline more than it already was. The performers all looked like they were having a blast, especially at the end, when lots of people were almost dancing in the aisles. Do go see this show, as we've said before, it's the BEST! There is a touring company, as well as the Broadway run to choose from.

Ragtime

April, 1998; National Theatre, Washington, D.C. A musical version of the novel written by E. L. Doctorow, adapted by Terrence McNally, Lynn Ahrens, and Stephen Flaherty. The story is set at the beginning of the 20th century and involves 3 groups of people: middle class white Americans, poor Jewish immigrants, and a group of African-Americans whose music, "ragtime", defined the turbulent changes going on at the turn of the century. WOW! This is an absolute must see for everyone. Everyone in the cast appeared to be every bit as good as the original Broadway cast. The singing and choreography make for a fantastic show. Kids over 12 are probably old enough to understand and enjoy the number of intertwined storylines involved here. Available on CD.

Rent

October, 1997; National Theatre, Washington, D.C. Jonathan Larson's modern version of "La Boheme". The story revolves around the goings on over a period of a year in an apartment building in New York City's East Village. It's really sad that Larson passed away after writing this FANTASTIC show. We'll never get a chance to see more of his work. Definitely see the touring company if you can't get to New York. All the actors in this production are just as great as the original cast. Children under 12 more than likely should stay home due to sexual situations and language. Original cast available on CD.

Saturday Night Fever

December, 2001; Lyric Theatre, Baltimore, MD. A musical based on the movie of the same name. If you've seen the movie, you know what this is all about. The songs in the movie that played in the background become the songs that are the basis for the musical, which are now sung by the characters. The plotline has adapted well for the stage, and the songs all go quite well in forwarding the plot. All the actors do a great job, making this an enjoyable show to watch, especially for fans of the movie. The choreography isn't the best-the dancing isn't quite as snappy as it could be, and the numbers should be a little more interesting-but it's not detrimental to the show. Do check this one out-it's a fun couple of hours. Original cast available on CD.

The Secret Garden

February, 1994; Lyric Theatre, Baltimore, MD. The musical based on the children's book, "The Secret Garden", by Frances Hodgson Burnett. A dour little girl is orphaned when disease kills both her parents. She is sent to live with her uncle, a lonely widower with a sickly child. With the help of the colorful characters who hang around the mansion, they all learn to open up, express themselves, and live life to its fullest. This show is a great one for the whole family, with wonderful music and an interesting plot. It's not touring anymore, but check out the CD of the Broadway production anyway.

Showboat

June, 1998; Kennedy Center, Washington, DC w/ Dean Jones and Cloris Leachman. The Jerome Kern/Oscar Hammerstein II musical based on the book by Edna Ferber. Follows the life of the people who live on a riverboat touring up and down the Mississippi putting on theatrical shows. This must have been a real potboiler when it was originally done in the 1920's. It's a really good, traditional type of a Broadway show, so if you're one of those people that needs action every second, you might want to skip this one. Too bad for you, though, because the music is pretty and the company does a great job. Kids under 14 will be bored.

South Pacific

February, 2002; Morris Mechanic Theatre; Baltimore, MD w/ Michael Nouri and Erin Dilly. A new production has been mounted of this classic Rodgers and Hammerstein musical. Set during WWII, on a tropical island in the Pacific, this musical about men and women who fall in love with each other during the horrors of war explores racial prejudice. At the time we saw it, Michael Nouri starred as Emile Debeq. It now has Robert Goulet playing the role. It's a really good production- Michael Nouri and Erin Dilly (as Nellie Forbush) were excellent, as was the rest of the cast. This production delves farther into the racial prejudice aspect of the story, which was originally adapted from James Michener's "Tales of the South Pacific." Prior productions didn't make as much of a point about it, but in this day and age, this new exploration really works. The songs and choreography are well done, making this a teriffic production of a timeless show.

Sunset Boulevard

April, 1999; Morris Mechanic Theater; Baltimore, MD w/ Petula Clark. The Andrew Lloyd Webber blockbuster based on the film by Billy Wilder. A faded silent screen movie star hires a washed up writer to fix up the screenplay that will mark her comeback. This brand new touring company has scaled the show back quite a bit. Gone are the flying sets used during it's run on Broadway with Glenn Close and a host of other divas taking the part of Norma Desmond successively. The new setup works quite well however. The show has been directed to look like a movie that's being shot as you're watching, so you'll notice how everything seems overdramatized, like the hand gestures. Considering the subject, however, it really works out great. The only small thing that dissapointed us is the amount of talking, rather than singing. In the original Broadway version, just about all of the show was sung through. In this version, many of the singing lines have been turned into just dialogue. This version has also been camped up quite a bit more than the Broadway version, which goes along well with the whole overdramatized theme of the show. Petula Clark was great as Norma Desmond, and the rest of the cast does a fine job as well. If you've never seen the show on Broadway, you'd really never know the difference. Even though we did see it on Broadway, we were still quite pleased with this new production. By all means, go see it. Kids under 12 might not understand what's going on. A number of CD's are available: full versions with Glenn Close and Patti LuPone, as well as single CD highlight versions with Glenn Close, Patti LuPone, Diahann Carroll, Petula Clark, and Betty Buckley. If you want to check out our review of the Broadway version of the show, click here.

Titanic

July, 1999; Kennedy Center; Washington, D.C. Wow. We saw the show when it originally played Broadway and loved it. (If you want to check out our review of the Broadway version of the show, click here.) We were worried that a scaled down touring version might not be as good, but it was actually better. The stage is no longer a 3 tiered ship. Now the scenes are just changed normally and played individually on the same stage. (On Broadway, the ship raised and lowered according to where a scene was being played.) However, this did not take away too much from the original idea. The set designers more than made up for it by making the sinking look even better than before, tilting the deck more steeply and quickly than they could do on Broadway. Super cool! The cast was also fantastic-everyone did a great job. Don't miss the tour-we liked this version so much we're going to see it again!

Victor/Victoria

April 1999; Morris Mechanic Theatre; Baltimore, MD w/ Toni Tennille as Victor and Victoria. The Blake Edwards movie of the same name was made into a Broadway musical, believe it or not. An out of work performer needs money desperately, so she pretends to be a female impersonator. In other words, a woman pretends to be a man who pretends to be a woman. We saw the original production with Julie Andrews and went to see this one to see how Toni Tennille would do it. It was great! The show was just as enjoyable the second time as the first. Kudos to Ms. Tennille and the rest of the cast for a great show, especially Dana Lynn Mauro, who played a funny-as-all-get-out Norma Cassidy. For those of you who've seen the Broadway production, check out the sets. They sure looked like the exact same ones to us! Definitely check this show out when it comes your way. We're glad we did. For our review of the Broadway production, click here. CD of the original production w/ Julie Andrews available.

The Who's Tommy

March, 2002; Warner Theatre, Washington, DC. Pete Townsend of the band The Who adapted their famous rock opera into a multi Tony Award winning musical. A young boy is traumatized into becoming blind, deaf, and mute when he witnesses the death of his stepfather. In spite of his physical challenges, he becomes a spectacular pinball player. Upon seeing this show, we admit we waited way too long to see it. It's great! It's a fast paced, non stop show that is all music. All the actors did a teriffic job, and look like they're enjoying it, too. Don't miss it! Not recommended for children under 12-the subject matter is way too intense for them. (Child molestation, drug use, murder) Original cast album available on CD.

REVIVALS

Ain't Misbehavin'

1996; Lyric Opera House, Baltimore, MD w/ Martha Reeves and the Vandellas. Great Fats Waller music and great fun, this is a musical in a looser sense of the term. There's lots of singing, lots of dancing, and a setting (a juke joint), however, if you're looking for a plot with lots of twists and turns, this isn't for you. (Which was obviously true-half the audience left after the first act. Shame on them!) The original CD has Nell Carter and the gang, and there's also a CD available for the revival (with the Pointer Sisters, who starred in the revival on Broadway.)

Annie

January, 1997; Mechanic Theatre, Baltimore, MD w/ Nell Carter and Joanna Pacitti as Annie. Revival of the musical story set during the Great Depression about the little orphan, Annie, who makes good. This is the original incarnation of the show currently playing on Broadway, now mysteriously missing Joanna Pacitti, who, for some reason, was replaced before the show opened on Broadway. Nell Carter is terrific as Miss Hannigan, and all of the other cast members work together to make this a wonderful revival of a wonderful show. It's a shame that the original choice for the role of Annie was replaced, because the latest Annie was on television singing the other day, and we don't think she's anywhere near as good as Joanna Pacitti. Joanna, if you're reading this, YOU ROCK! We think it's crummy that you got cheated! Hopefully there was a really good reason and not just more Broadway politics that was involved here. CD from original cast (Andrea McArdle) available. Check out the movie version starring Aileen Quinn, Carol Burnett (a great performance as Miss Hannigan), Albert Finney, Ann Reinking (see what she's done before Chicago!), and many others. There is also a more recent movie version made for TV by Disney, starring Kathy Bates as Miss Hannigan, Alan Cumming as Rooster, Kristin Chenoweth as Lily, and many others. Both versions are pretty good.

UPDATE! Guess we aren't the only ones that feel this way because the show has now closed on Broadway after a short, lackluster run and is back out on tour, still with Nell Carter as far as we know.

Annie Get Your Gun

January, 1999; Kennedy Center, Washington, D.C. A revival of the classic Irving Berlin musical, starring Bernadette Peters and Tom Wopat. This "show within a show" follows the turn of the century story of the blossoming romance between Frank Butler and Annie Oakley. It also traces her rise to stardom in Buffalo Bill's Wild West Show and the havoc it wreaks with that romance. It was a pretty enjoyable show, although the "show within a show" concept may have held it back a little. Basically, what you are seeing is Buffalo Bill's show itself (including the orchestra right on the stage), retelling the whole story in their own way. Whenever Ms. Peters has a big number, she basically just stands center stage and belts it directly to the audience, which doesn't allow for much fancy choreography or interaction with other characters. Keep in mind, too, that this is a show from a different era, so it's definitely NOT action packed. Don't let this scare you away, though, unless you only like the modern stuff. However, children under 12 will surely be bored. (And they were-there were 2 kids behind us who were spending more time eating their M&M's than watching the show.) Soundtracks are available from previous productions, and the one from this production probably will be out soon after it opens on Broadway.

Applause

November, 1996; Mechanic Theatre, Baltimore, MD w/ Stephanie Powers. A revival production of the musical based on the classic film, "All About Eve", but updated to be set in the 1970's. A famous actress becomes friends with a young woman who claims to be her greatest fan. Unbeknownst to her, the young woman plans to use her to become a famous actress herself. This production was on tour prior to a Broadway opening which never happened. It's really too bad it never made it (we don't know why-the news we heard did not explain) because this was one good show. Stephanie Powers did a bang up job stepping into the role created by Bette Davis in the film. If you like "All About Eve", then the musical created from it is for you. Maybe one day a revival production will make it to Broadway, because this was a well done show. Ann Reinking choreographed this show before she went to work on "Chicago", and the result was a show that was that much better. Kudos to Stephanie Powers, especially, because we went backstage to get her autograph (after being invited) and found out she'd been dancing with a bum ankle. (Of course, kudos to anyone who still goes on with the show with any kind of illness. It can't be easy doing it when you're well, not to mention when feeling crummy.) Kids over 12 should be old enough to understand and enjoy the show.

The Best Little Whorehouse In Texas

May, 2001; National Theatre, Washington, DC w/ Ann-Margret and Gary Sandy. This revival of the musical by Larry L. King, Peter Masterson, and Carol Hall was on tour prior to a Broadway opening. Based on a true story, the show is all about The Chicken Ranch, a prostitution business in Texas run by Miss Mona (Ann-Margret). Business was doing well, as it had been since the 1800's right up through the late 1970's, when a television expose brings the place to the town's attention, causing an uproar which forces them to close. We really liked this show. It had great music, including great numbers like "Hard Candy Christmas". It was fun to see Ann-Margret, who did a fantastic job with the role and looked as great as ever. Gary Sandy also was very good as the Sherriff. Kudos to the whole cast, all working together very well to put together a really good show. The onstage orchestra was a nice touch-it's very snappy style made the evening a real toe-tapper. The set was quite minimalist, (it was just one two-level set that could move around and change according to the scene's needs) but adequate for the setup of the production. However, this didn't take away from the show. Naturally, this show is not for children at all-it's best not to take anyone under 16 for sure, and it's your judgement if that's even old enough. Don't miss this revival of a great show. There is a movie version (we haven't seen it) starring Dolly Parton as Miss Mona and Burt Reynolds as the sherriff.

Camelot

June, 1994; Lyric Opera House, Baltimore, MD w/ Robert Goulet as King Arthur. Lerner and Loewe's wonderful musical based on "The Once and Future King" by T. H. White. King Arthur and Queen Guenevere marry, Sir Lancelot helps form the Round Table, but then falls in love with the Queen. A must see. It's wonderful to see Mr. Goulet, who originally created the role of Lancelot in the original 1960's production, now playing the King. The show is fantastic, and one for the whole family to see. If it doesn't come your way, get the movie version with Richard Harris as the King and Vanessa Redgrave as the Queen from the video store. You'll love it. Many versions of this are on CD.

Carousel

1996; Lyric Opera House, Baltimore, MD. The revival of the classic Rodgers & Hammerstein musical. A ne'er-do-well and a good girl marry, only to have their love-hate relationship end in tragedy, with a child on the way and no father to support it. This tour began after the Broadway production closed. This was an excellent production, thouroughly enjoyable. Keep in mind, this is an old style musical, where there wasn't singing every second of the show. We enjoy these shows just as much, but it seems they're not everyone's bag. It's probably because current musicals have produced a lot of new theatregoers who, being used to music, music, music, tend to think the oldies but goodies don't move quickly enough. Get a sitter for the kids, this one may be a little too slow for them to keep still all the way through. Original cast on CD, as well as the movie soundtrack, starring Shirley Jones and Gordon McRae. (The movie comes on TV all the time. Check it out!)

Company

May, 2002; Kennedy Center; Washington, DC. A revival of the classic Stephen Sondheim musical, included in the Kennedy Center's Sondheim festival. Bobby, a 35 year old bachelor, is always visiting friends that are married, divorced, or going to be married. Their friendly advice to him about the advantages of having a relationship with someone are wearing a little thin on him. This show was a smash when it was originally on Broadway in the early '70s. The revival, starring Lynn Redgrave and John Barrowman, was terriffic. The storyline was fun and interesting, and the songs were great, including many that are well known standards now, such as "The Ladies Who Lunch". The performers did a top notch job. We really enjoyed this show. Unfortunately, there are no plans to bring this revival to Broadway. There are plenty of versions of the soundtrack out, but you MUST get the one that is the original Broadway cast, which includes Elaine Stritch, Beth Howland, and Dean Jones.

Dreamgirls

February, 1998; Kennedy Center; Washington, DC. Originally produced in 1981, the new production of this musical is as great as the original production. Unofficially, the story of the Dreams, an all girl musical group that got their start in the 1960's, is based loosely on the true story of Diana Ross and the Supremes. The music, written in the Motown style, is fantastic and keeps your toes tappin'. The cast is top notch, all with wonderful voices that really do the lyrics justice. This is a must see for all-it moves very quickly and keeps your interest right to the end. Kids under 10 might be bored, since there's no neato sets or stuff like that to interest them.

Evita

December, 1992; Lyric Theatre; Baltimore, MD. Andrew Lloyd Webber and Tim Rice adapted this musical from the life story of Eva Peron, wife of former Argentinian dictator, Juan Peron. A poor girl from a backwater Argentinian town uses any important man she can find to get where she wants to go, becoming a famous actress, and eventually the First Lady of Argentina, who refuses to be a decoration at the side of her husband. This is a fantastic musical, one of the first new style musicals, all music and singing and no dialogue, sort of opera style. Music and choreography are top notch, and the show moves very quickly. If a touring company comes around, definitely make plans to see it. Because of the subject matter and language (well, she did SLEEP her way to the top, you know), it's probably best to leave children under 12 home with a sitter. Besides, they wouldn't understand it anyway. If you don't want to wait, though, check out the movie version starring Madonna, out on video, but go see the live version anyway, because there are some major differences between the two, which make each worth seeing in their own right. CD's available for original cast (Patty LuPone-the best!) and the movie as well.

Fiddler on the Roof

April, 1996; Lyric Opera House, Baltimore, MD w/ Theodore Bikel. The story of a town of Jewish people in 1905 Russia, dealing with poverty, religious persecution, and the dying away of traditions. An excellent production, thouroughly enjoyable. Educational as well as enjoyable, take the kids over 8 to see this one. Original cast CD available. Check out the movie that came out 20 years ago, available on video.

Hair

February, 1994; Mechanic Theatre, Baltimore, MD. The revival of the great coming of age musical set in New York City, 1968. A man getting ready to join the service and be sent to Vietnam runs into a group of whacked out hippies. It's really hard to explain the plot any further, other than to say it's all about protest: the Vietnam war, racial discrimination, and that kind of stuff. This show, as well, was on tour prior to a Broadway opening, closing well before it reached Broadway. There is absolute polarization in audience opinions of this musical. You either love it or hate it. We, of course, loved it (because we aren't as easily offended as SOME people seem to be!) Half the audience left at intermission, more than likely because of the nude scene which happens at the end of the first act. It was probably all those elderly people who get subscriptions to the whole series of shows playing at the theatre. If you know what it's about, why buy the tickets? Naturally, the word of warning here is DON'T TAKE THE KIDS!! Anyone who grew up in the 60's should like this musical, as well as those younger than this. Elderly people more than likely won't like this at all. Get the movie from the video store. It's pretty good, but a lot different from the show. Available on CD.

Hello, Dolly!

1994; Lyric Opera House, Baltimore, MD w/ Carol Channing. Jerry Herman's musical adaptation of Thornton Wilder's "The Matchmaker". You know how the story goes: Turn of the century matchmaker Dolly Levi has her hands full trying to make everybody happy, including herself. This went on to Broadway for a revival. You just can't beat Carol Channing, she's the greatest! Kids over 12 will enjoy it. The movie version starring Barbara Streisand comes close, so check it out when it's on TV. Soundtracks from the original production starring Channing, as well as subsequent revivals starring Channing and Angela Lansbury are available on CD (or maybe even vinyl record if you go back far enough!).

Jesus Christ Superstar

December, 1992; Mechanic Theatre, Baltimore, MD w/Ted Neeley, Dennis DeYoung, and Carl Anderson. (Irene Cara was to play Mary Magdalene, but was unable to do so at the performance we attended.) The Webber and Rice rock opera about the last 7 days in the life of Jesus of Nazareth. This is always a great show to see. The staging isn't usually full of glamour and glitz, which isn't necessary anyway, because it allows the viewer to focus on the story being woven through the music. Messrs. Neeley and Anderson played Jesus and Judas in Norman Jewison's film version of the show. A note to those out there unsure about seeing the stage production: If you've seen the movie, it's nothing like the stage production. So, if you liked the music, but didn't like the movie, go see the show when it comes to a theatre near you. There's not quite as much 60's era type stuff in the stage production. This one's OK for kids old enough to behave themselves for a couple hours, after all it's the same story that's in the New Testament of the Bible. Many productions (and the movie) available on CD.

Joseph and the Amazing Technicolor Dreamcoat

January, 1995; Lyric Opera House, Baltimore, MD w/ Sam Harris. Webber's musical adaptation of one of the stories from the book of Genesis. 11 of the shepherd Jacob's sons plot against their younger brother, Joseph, who through various travails, prevails over all anyway. A really enjoyable, toe tapping kind of a show, especially for kids. Many productions available on CD, but the one starring Michael Damian(Danny on the Young and the Restless) is by far the best.

Hey, pretty neat! We saw Sam Harris starring in The Life on Broadway. (Reviewed on the Broadway reviews page.)

Minnelli on Minnelli

April, 2000; Kennedy Center, Washington, DC. Liza Minnelli's tribute to her late father, the great film director Vincente Minnelli. This extravaganza was on Broadway for awhile and Ms. Minnelli is now touring the country with it. It's an evening full of songs from just some of the movies Vincente Minnelli directed, such as Meet Me In St. Louis, Cabin in the Sky, Gigi, and many others. If you're a fan of either Liza Minnelli or the songs from her father's many movies, don't miss it. She's one of the great entertainers, putting on a really fantastic show. Not only does she still have a great singing voice, but she has lots of interesting stories to tell about her father.

Peter Pan

February, 1998; Warner Theatre, Washington, DC w/ Cathy Rigby. Revival of the musical production of the play by Sir James Barrie. You all know the story of Peter Pan, right. Heck, who hasn't seen the Disney cartoon? However, this show does stand on it's own merits, so don't count it out just because you've seen the cartoon. This was a really enjoyable show, with a fantastic performance by Cathy Rigby as Peter Pan. Her training as a world class gymnast (she won gold in the Olympics a while back, remember?) really shows in the flying sequences, which are pretty cool. They do their best to hide the flying gear, so most of the time you can't see any of it, which makes the experience better. Parents should definitely take the kids to see the show-the whole family will love it. However, keep in mind that it's about 2 hours, 50 minutes, with 2 15 minute breaks inbetween, so the really young ones might get tired and cranky towards the end. Since this is a show that lots of kids will be attending, this should also stand as a warning for people who get touchy about audience members making noise during the show. If it really bugs you, you might want to skip this one, because the kids go full throttle on this one. We had a hard time trying to ignore it ourselves.

Sweeney Todd

June, 2002; Kennedy Center; Washington DC. The Kennedy Center Sondheim festival also did a revival of this Stephen Sondheim classic. (Gee, it seems like everything he does becomes a classic...) Brian Stokes Mitchell starred as Sweeney Todd, aka the demon barber of Fleet Street. Sweeney Todd, fresh out of prison, sets up his barber shop above Mrs. Lovett's pie shop. He offers his services to the people responsible for his imprisonment, thereby killing them (giving them a little too close of a shave). What to do with the bodies, though? That's where Mrs. Lovett comes in... This revival was very well done, very funny and also moving very quickly. The CD from the original Broadway production, starring Angela Lansbury and Len Cariou is available.

West Side Story

October, 2002; Lyric Theatre; Baltimore, MD. A revival of the musical with music by Leonard Bernstein, and lyrics by Stephen Sondheim. Based on Shakespeare's Romeo and Juliet, this is a love story set in the Upper West Side of NYC in the 1950's. Two rival gangs, the Jets and the Sharks have spent the whole of their youth hating each other. A member of the Jets falls in love with the sister of a member of the Sharks. Can they love each other despite the hatred? This is a classic musical, which was made into a great movie. It's good to see the production as it was originally visualized, since it seems there were a number of changes made to it to turn it into a movie. This particular production was very good-the actors did a great job of bringing the musical to life. The choreography by Jerome Robbins of the original Broadway production was recreated by Alan Johnson, and it was really good. This production is definitely worth catching. Children under 15 might be bored, unless they're really into watching shows.

OTHER STUFF

Copacabana

November, 2000; Lyric Theatre; Baltimore, MD. With Gavin McLeod. Barry Manilow took his smash hit song "Copacabana" and turned it into a musical. Everybody knows the songs lyrics, so you know what the basic storyline is. They made it more believable by having it take place in the mind of a songwriter. The songwriter is trying to work out the lyrics to what will end up being "Copacabana", and he is imagining the story taking place. Funny thing, though. The song we know and love isn't performed in it's complete version anywhere in the musical. You hear bits and pieces throughout, but you don't hear the whole thing until after the story is complete and the cast performs it review style. Believe it or not, the ending is a surprise-we won't tell you what part of the original song's plot they changed, just in case you want to be surprised. The show was fun and enjoyable, all the new songs were written by Barry Manilow as well. The storyline is pretty light, as you can imagine, but the actors did a great job. If it happens to come to your city, check it out. The show was playing on London's West End for awhile, but as far as we know there aren't any plans to take it to Broadway. Kids under 12 might be bored-they don't tend to get into the romantic stuff, which is the whole show.

EFX

June, 1996; MGM Grand Hotel/Casino; Las Vegas, NV. With Michael Crawford (of Phantom of the Opera fame). A real Broadway-type production, this certainly belongs here. Crawford starred as the Effects Master, singing his way through time and the coolest special effects around. The show was fantastic, and at that point, a must see for everyone. However, Tommy Tune now stars. Although he's probably better than David Cassidy was, we just can't picture him doing the same stuff Crawford did. Where Crawford made it believable, Tune would just look plain weird. Not to mention that his singing couldn't begin to compare with the original Phantom of the Opera. Yecch. Don't waste $70/ticket now that Crawford has left the show. Just buy the CD and enjoy the music.

Fame: The Musical

March, 1999; Lyric Theatre; Baltimore, MD. An updated, musicalized version based on the 1980 movie of the same name. The story follows a group of kids from the time they enter the High School of Performing Arts to the time they graduate. Although the show was entertaining, overall, and the music portions of it seem to be rough drafts of possible Broadway material, there were just too many rough spots in the plot to be forgiven. There are a number of times where a character has a problem, then in the next instant it's fixed, with no explanation whatsoever. One example is when Tyrone is practically forced out of the school because he can't read. 5 minutes later he's reading perfectly, with no explanation as to how he improved himself. There is a similar problem with the ending. We won't give it away for those of you who still want to see the show, but it really does make the end of the show seem very abrupt. There are just too many loose ends that are left hanging at the close of the show with no explanation. The odd thing is there are no loose ends at the intermission! Absolutely nothing to make you really want to come back to see the rest. We've got to give credit to the writers for trying, but there's no reason an audience member should be leaving the theatre after the show thinking, "Huh?" We can find no information anywhere that the show will be going to Broadway anytime soon, and that's a good thing. It's nowhere near ready. (It just seems to be touring around with no particular destination. That's why we put it in this category.) Like we said, it's entertaining, and we're glad we saw it. We had a good time, and you might too, but close scrutiny reveals a play without anything to make you really care what happens to the central characters. Do NOT bring children under 12. Adult themes throughout, including a particularly explicit song which probably made all those stage mothers bringing their child prodigies wish they hadn't.

Starlight Express

June, 1996; Las Vegas Hilton, Las Vegas, NV. Webber's musical adaptation of "The Little Engine that Could". A number of trains hold a race among themselves to determine who is the fastest. The elaborate train costumes worn by the actors include roller skates to make the train illusion work quite well. This show had a not too successful run on Broadway about 10 years ago, but after extensive rewrites to make the show much more lively, it is having phenomenal success in London and Las Vegas. This show is the coolest, most enjoyable show of the Las Vegas theatre scene. The best part is that the layout of the theatre allow the cast to roller skate all around the audience and even up into part of the mezzanine. If you need something to do with the kids while staying in Las Vegas, don't miss this one!

UPDATE! Unfortunately, the Las Vegas Hilton closed the show to make room for Star Trek: The Experience. It's still playing in London's West End theatre district, though, if anyone's going overseas. The CD for Starlight Express is easy to find in most stores, if you'd like to check it out. Make sure you get the latest version though (there are 2). Look for the last track of the CD to be called "Starlight Megamix" to be sure you've got the right version.

Starlight Express On Ice

October, 1997; Baltimore Arena, Baltimore, MD. A really fun version of "Starlight Express" adapted for the ice. We've seen the roller skate version and the ice skate version and they each have their own style. The sets are the thing for Vegas, but the ice show doesn't have much in the way of sets. This works, though, because too many set pieces would detract from the world champion figure skating going on here. Lighter costumes and lots of cool figure skating moves make this show worth seeing. Since this show is inexpensive and therefore accessible to more people, this is a good introduction to the world of the Broadway musical for children of all ages. We hope that by seeing this show, kids might learn to appreciate musicals and become the next generation of theatre goers. However, there is one drawback to the inexpensiveness of the show and that is that it draws a whole different crowd of people than your normal theatre audience. The kids were fine, it was the people OVER the age of 12 that were annoying and didn't know how to behave themselves. There seemed to be an entire audience of talkers, hooters, and hollerers. This isn't a hockey game, people! Be quiet and enjoy the show. It's unnecessary, not to mention annoying, to hear a running commentary or have someone screaming "WOOOOOOOOOOOO!!!" in your ear all night.

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