Review: The Bushnell “& Juliet”

The Bushnell, Hartford, CT

www.bushnell.org

through May 10, 2026 

By Geoff and Linda O’Connell

Early in the bold musical “& Juliet,” the character William Shakespeare declares he can navigate his wife Anne’s demand that she rewrite his classic love story. “Where there’s a Will, there’s a way,” he says, emphasizing the pun. That assertion emerges as the theme as all the characters find the will to redefine themselves and chart their destinies. 

Perhaps the greatest will of all was exerted by the book’s writer David West Read, who disrupted the plot – and even subplots – of “Romeo & Juliet,” using a bucketful of the Bard’s tricks: surprise, slapstick, word play, genderbending. Read did all this while improbably, but dazzlingly, interweaving the dialogue to connect 30 of the biggest selling pop songs of the 1990's composed by Max Martin, who has produced more #1 hits for the American market than all comers except Paul McCartney.

Some critics have dismissed this kind of mash-up of dialogue with pre-existing songs as a “jukebox” musical. Director Luke Sheppard and his team acknowledge the criticism from the get-go, placing a glitzy jukebox near center stage. Then, the real fun begins.

Cast members appear one by one, smiling, dancing, waving at audience members and “breaking the fourth wall” by sitting on the edge of the stage and interacting with patrons, not as characters but as friendly actors. 

The fourth wall stays permeable with the arrival of real-life boy-band superstar Joey Fantone of ‘NSync. Fantone is there to play a character in the musical, who is welcomed loudly by adoring fans of his previous incarnation. Fantone portrays his character Lance with Falstaffian verve and sly nods to his status as a former teenage sex symbol. Fantone still has his signature moves but can parody them deftly as well.

CJ Eldred slides in and out of this “fourth wall” while playing Shakespeare; and Crystal Kellogg, as his wife, courses over multiple planes of reality.

More lines cross with Costume Designer Paloma Young’s mixing Elizabethan wear with 1990's concertgoer aesthetic. Scenic Designer Soutra Gilmour smushes eras – a DJ booth at a Renaissance ball! Lighting Designer Howard Hudson and Video Designer Andrzej Goulding join the team with clever scrims and other devices to conjure up Verona and Paris, boudoir and ballroom. Confetti bombs and pyrotechnics make it a party.

And what a party it is when Fantone’s character gets the family band back together. The Elizabethans break into “Everybody (Backstreet’s Back)” as the fourth wall comes tumbling down. Jennifer Webber’s high voltage, pulse-pounding choreography surges around the stage captivating audience members to dance, sing, and ecstatically scream along.

The musical is a remarkable ensemble cast with strong belting voices all around. High, sustained notes have particularly become a key benchmark in ranking pop divas. 

The scenic design features a three-dimensional logo that morphs from “Romeo & Juliet” to “& Juliet.” It raises and answers the question that Anne put to her playwright husband: “Are you a strong enough man to write a stronger woman?” Read channels the Bard of Avon to tell a complex, often funny, sometimes bittersweet tale of humans struggling to see who they are. All the world’s a stage.

REVIEW: The Bushnell, Hartford, CT “Kinky Boots”

The Bushnell, Hartford, CT
www.bushnell.org
March 17 – March 22
by Simon Brighenti

Pop culture mavens of a certain age may remember Cindy Lauper as a bubbly, bejeweled bopper whose 1980’s persona might be summed up at least superficially as “MTV, the WWE and Me”. However, as evidenced brilliantly by the current production of "Kinky Boots" at the Bushnell, her talent as a songwriter and wordsmith is much deeper than that.

Combining Lauper’s memorable tunes with a book by the inimitable and legendary Harvey Fierstein, "Kinky Boots" is a fun, sassy, and brassy theatrical experience; in a phrase everything a Broadway-worthy musical should be.

The message permeating the production is how we can be changed, our lives enhanced and dreams achieved by recognizing the true colors within each other and ourselves. The musical is inspired by a true story which brought together two seemingly wildly disparate individuals who find common ground and realize that what is underneath is what truly counts.

The immensely talented Omari Collins (aka Scarlett D. Von’Du) is first introduced as Lola, a flamboyant and boisterous drag performer, who, as the production and relationships develop and evolve on stage, reveals a real tender and thoughtful soul and a determination to remain true to both identities.

As Charlie Price, portrayed by Noah Silverman, is torn between respecting and trying to maintain the shoe making business his father and grandfather built – mostly for the sake of the supportive lifelong friends his family has employed and kept on over the years -- and his desire to find his true self which may mean putting the business and his treasured relationships behind him. 

The discomfort that some “traditionally minded” folks might feel when presented initially with who Lola is and what Lola represents is personified by Jason Daniel Chacon in the role of Don. In the hands of a lesser actor this portrayal could easily turn cartoonish, but Chacon inhabits it with a heartfelt humanity and (eventual) understanding.

No review of "Kinky Boots," and especially this production, would be complete without an appreciation of the costuming, hair and makeup, and scenic design. It all comes together in a pageant of flair and fun. The ability to work within an athletic and gender-fluid presenting cast of main players and “angels” such as presented at the Bushnell is surely a dream assignment. 

The energy of the choreography and flamboyancy of the ensemble as they go through many intricate and fabulous costume changes and the ability to navigate the set while wearing footwear ranging from “sensible shoes” to “are you kidding me?” is nothing short of stunning.

So, an enthusiastic suggestion would be to don that favorite footwear and head over to the Bushnell for an entertainment experience that will delight down to the very sole.

 

Review: The Bushnell, “SUFFS”

The Bushnell, Hartford, CT

https://bushnell.org

through February 1, 2026

by Jarice Hanson 

SUFFS at the Bushnell has an outstanding cast of 17 women playing a variety of roles that tell the 100 year old history of women’s suffrage, from Carrie Chapman Catt, the successor to Susan B. Anthony, to the younger Alice Paul’s efforts to create the National Woman’s Party and the attempt to pass the Equal Rights Amendment, (yet to be codified).    
 
The show is a musical history lesson so comparison to the more successful Hamilton is inevitable. The names of these pioneering suffragists should be better known.  For that reason, it’s easy to overlook some of the weaknesses in the script—particularly with regard to historical accuracy.  However, SUFFS is highly entertaining and the cast and musicianship of the orchestra more than make up for the weaknesses in the narrative.   
 
There is not a weak singer in the cast, but some of the actresses who take this touring cast to Broadway level include Marya Grandy as Carrie Chapman Catt; Maya Keleher as Alice Paul, the primary protagonist of the story; Jenny Ashman as President Woodrow Wilson; Danyel Fulton, as Ida B. Wells; Trisha Jeffrey as Mary Church Terrell; and a surprising crowd pleaser, Livvy Marcus as the young, bookish Doris Stevens.  Marcus’ duet with Brandi Porter playing President Wilson’s aide, Dudley Malone, called “If We Were Married” at first sounded contrived, but the two singers commit to such longing and desire, the number is practically a show-stopper, and clearly a favorite for audience members.  

Photo by Joan Marcus 2025

 
The music for this show combines the efforts of a group of 4 lead musicians, supplemented with 8 local musicians who all not only produce one of the best pit bands in Bushnell history, but who, along with the efforts of Music Coordinators Kristy Norter and Julie Ferrara work seamlessly with Randy Cohen’s Electronic Music Design and with Jason Crystal’s Sound Design.  Mortensen Hall at the Bushnell is a tricky place for good sound/music quality, and this group of talented individuals came up with a masterpiece of sound.  Every word could be heard, and every instrument blended together for an exceptional background for the incredible voices on stage.
 
The production team for this touring show is of the highest caliber.  The book, music, and lyrics by Shaina Taub (who played Alice Paul on Broadway) is complemented by the very talented director Leigh Silverman. Costumes by Paul Tazewell, and lighting design by Lap Chi Chu, and the touring set, adapted by Christine Peters, used silhouettes as veritable snap shots of pictures of time in history.   
 
The lengthy Act I (an hour and a half) lays out the background for the real drama in Act II and suffers from too many similar sounding anthems, but Act II explodes with power and is very satisfying.  While not perfect, SUFFS illuminates a very important part of women’s history, and undeniably gives us hope at this time in history.

Review: The Bushnell, "Spamalot"

The Bushnell, Hartford
www.bushnell.org
through December 14, 2025
by Simon Brighenti 

In this reviewer’s previous life as a lawyer, my colleagues and I would often encounter various Latin words and phrases, the understanding of which was one of the few benefits of my passing familiarity with that not-dead-yet language. One of those phrases was “sui generis” - Latin for "of its own kind"- describing something unique, peculiar, or in a class by itself, requiring special rules because it doesn't fit existing categories. In other words, something completely different. 

Such is the oeuvre of the six comic geniuses known collectively as Monty Python. The delightfully hilarious and sometimes borderline bawdy production of "Spamalot" is that special brand of irreverent humor in a (coco) nutshell. Having been a Python fan since my early teen years, the play hits on several different levels, all of them riotous. 

Ably directed by Josh Rhodes, the plot revolves loosely, as did one of Python’s classic films, around the Arthurian legends of ancient Britain. A working knowledge of the Camelot myths is perhaps helpful to pick up some of the more obscure references; as is, in their other works, familiarity with some of the great philosophers, the Bible, former British political figures and events, and -perhaps unexpectedly- the Spanish Inquisition.

In keeping with the tradition of excellent productions at the Bushnell, the cast, set design, costumes and musical accompaniment are all first rate. The play comes from the mind of Python Eric Idle but is in fact a distillation of much of the essence of Python sketches, set pieces and movie scenes put together over the decades by the highly educated Idle, along with the similarly talented and erudite Graham Chapman, John Cleese, Terry Jones, Michael Palin and Terry Gilliam (the eccentric cartoonist and lone American in the troupe), none of whom, though, were involved in the actual development of "Spamalot".

In the Pythonesque tradition, each cast member other than Major Attaway as King Arthur and Amanda Robles as Lady of the Lake, plays a bevy of roles. Attaway brings a regal yet pompous presence to the role as he makes his way through one absurd situation after another. His immense talent shows through in both remaining in character in even the most ridiculous situations and in belting out some of the intricately crafted lyrics penned throughout. He and his men come within a hare’s breadth of doom in one of the most memorable scenes at the portentous Cave of Caerbannog. 

Just as the Pythons had depended upon Carol Cleveland and Connie Booth to bring a distaff influence to the roles the guys didn’t play themselves, Robles is a distinct and wonderful find. She combines a compelling stage presence with playful arrogance and self-confidence.

Blake Segal and Steven Telsey display their slapstick sides as characters ranging from Not Dead Fred and the lackadaisical guard to the faithful Patsy and Prince Herbert. Chris Collins-Pisano is outstanding as he portrays probably the most outrageous characters in a sea of them - The French Taunter, the principal Knight of Ni and Tim the Enchanter. 

The set, as audiences have come to expect, a character itself. The actors frequently break the fourth wall (as well as the ceiling) to great effect, and anachronisms, both lyrical and visual are a welcome addition. 

As to the score, Eric Idle is a woefully underappreciated lyricist. Along with his more famous tunes included in the production such as “Knights of the Round Table” and “Always Look on the Bright Side of Life” are several tunes with typically clever wordplay. 

Overall, "Spamalot" is definitely worth the quest. 

Review: The Bushnell, "Hamilton"

The Bushnell, Hartford, CT

www.bushnell.org
through November 16, 2025
by Suzanne Wells

The Bushnell presents “Hamilton”—book, lyrics, and music by Lin-Manuel Miranda.

This production brilliantly reframes modern American politics through the compelling story of Alexander Hamilton, drawing connections to today’s most pressing social issues. For those drawn to rooting for the underdog, captivated by battles, strategies, extortion, and duels, or intrigued by romantic entanglements and jealous revenge, “Hamilton” delivers on all fronts.

Set against the backdrop of late 1700's New York Harbor, Hamilton—a poor immigrant—joins forces with notable revolutionaries to win independence from England and lay the foundation for the United States government. The production’s use of contemporary language and an innovative blend of rap, hip-hop, and emotional music creates a striking reminder that little has changed over two centuries. The marginalized still struggle for justice, women continue to fight for recognition, backroom deals determine fates, and genius is frequently celebrated only after death.

Tyler Fountleroy commands the stage as Hamilton, captivating the audience with his electrifying energy, impressive vocal range, and unwavering stamina. Jimmie “JJ” Jeter brings depth and intensity to Burr, delivering a memorable performance in “The Room Where It Happens,” while A.D. Weaver’s portrayal of Washington is particularly stirring in “One Last Time.” Marja Harmon dazzles as Angelica; her rendition of “Satisfied” leaves the audience eager for more. Though the dynamic musical arrangements occasionally overshadow the lyrics—making it a challenge to catch every plot twist or double entendre—the emotional impact remains strong.

Lauren Mariasoosay’s portrayal of Eliza is unforgettable. She evolves from a spirited young woman to a devoted wife and mother, transforming into a figure marked by heartbreak and, in the end, radiant forgiveness. Mariasoosay’s understated yet profoundly moving performance resonates with quiet strength, leaving a lasting impression.

The show is not without levity—Matt Bittner’s foppishly charming King George III in “You’ll Be Back” and Christian Magby’s delightfully ridiculous Thomas Jefferson in “What’d I Miss” offer new perspectives of the typically dignified historical figures.
Andy Blankenbuehler’s choreography, featuring captivating pop-and-lock and slow-motion sequences, enhanced by a rotating stage, is mesmerizing. At times, the ensemble’s energy and movement are so riveting that it becomes difficult to focus on anything else, including the lyrics.

“Hamilton” captivates audiences with its complex plot, impressive vocal performances, and remarkable choreography, making it a show worth seeing more than once.

Review: The Bushnell, "The Notebook The Musical"

The Bushnell, Hartford, CT

www.bushnell.org

through October 5, 2025

by Suzanne Wells

The Bushnell presents “The Notebook The Musical” by Bekah Brunstetter, music and lyrics by Ingrid Michaelson, based on the novel by Nicholas Sparks.

A trio of heartfelt and poignant tales—of young love, mature love, and enduring love—are beautifully woven together and brought to life in this musical production. 

Three pairs of actors portray the leads; Noah and Allie, each capturing a distinct chapter in their love story. As the young lovers, Kyle Mangold and Chloë Cheers infuse the stage with vibrant energy and heartfelt enthusiasm, embodying the innocence, nervous anticipation, and earnest devotion of first love. Mangold brings an undeniable charm reminiscent of a young Luke Perry, blending swagger and humor with a warm vocal presence—even when reaching for the highest notes, which unwittingly reflect his character’s journey from boyhood to manhood. Cheers delivers a stunning vocal performance that grows in brilliance throughout the show; her voice shines in numbers such as “I Paint” and “If This Is Love,” each song revealing greater confidence and depth as her character matures.

The older lovers, played by Alysha Deslorieux and Ken Wulf Clark, display exceptional vocal talents and impressive acting skills. Their love story centers on the intense emotions that swiftly spark both conflict and passion between them. While the narrative tends to gloss over the difficulties of healing past hurts and misunderstandings, highlighting their surrender to desire, Deslorieux and Clark's performances are so compelling that the audience is left longing for more.

The true stars of the show are Sharon Catherine Brown and Beau Gravitte. Brown's performance as a woman grappling with severe dementia is fearless, deeply moving, and utterly convincing. She masterfully conveys disassociation, fear, and fleeting moments of recognition, each emotion pulling at the audience’s heartstrings. Paired with Gravitte’s blend of grumpy old man humor and unwavering hope for one more moment with his beloved, their scenes elicit both tears of joy and sadness.

Although the musical may not feature a tune that lingers in the minds of audience members, the crowd of appreciative theater goers are undeniably inspired for a longing of love as enduring as the one portrayed in “The Notebook.”

While several characters offer moments of comic relief, Connor Richardson stands out with his perfectly timed humor, providing a delightful counterpoint to the emotional intensity of the love story.

REVIEW: The Bushnell, “Back to the Future, The Musical”

The Bushnell, Hartford, CT

www.bushnell.org

through June 8, 2025

by R.E. Smith

How can something so high-tech be so charming? How can something one audience member at intermission called “so meta” still feel so sincere? Probably because, like the plot which bounces 30 years back and forth in time, it embraces the most entertaining parts of both time periods and eschews cynicism.

Photo by McLeod9 Creative

The plot is simple Oedipal science fiction with fun historical commentary mixed in for laughs. Marty McFly’s good friend, scientist Doc Brown, has invented the most stylish time machine ever, and through a series of mishaps, Marty travels back to the 50’s, where he not only meets his parents, but also attracts the unwanted attentions of his teenage mother. Of course, he must get back to the 1980’s before the flow of time is disrupted and catastrophe ensues.

The show’s script is by the original movie’s co-creator Bob Gale and produced by director Robert Zemeckis. They understand what makes the film so beloved and they are not afraid to recreate much of that narrative scene for scene and word for word. 

Do the performers very much embrace the mannerisms and the delivery of the original stars, Michael J. Fox and Christopher Llyod and Lea Thompson? Yes, they do. But die-hard fans would be sorely disappointed if they didn’t. Do they give them enough of a spin to make things just different enough to entertain an audience not intimately familiar with the movie, yes they do!

Appreciated is the idea that the characters are given songs native to the styles of their day, like “Pretty Baby”, sweetly sung by Zan Berube as Lorraine Baines (all sugar and spice) in ‘50s girl group fashion. Lucas Hallauer’s Marty (flummoxed but determined) gets the well known 80’s pop-hits like “Power of Love”. “Cake” allows the ensemble to extol the virtues of leaded gasoline and DDT while “21st Century” goes full Styx to help Doc solve his time-traveling puzzle. Alan Silvestri’s movie score (a highlight of the film) is layered throughout and helps drive the momentum of the narrative.

The entire cast is top rate, doing excellent work, vocally, physically and with impeccable timing. Nathaniel Hackmann, who originated the role of bully Biff on Broadway, set his own gold standard, but still clearly relishes every minute of his malaprop burdened blowhard.

To speak too much of the special effects, lighting and sound design would spoil an impactful part of the show. At times, the audience feels like it’s in a real-life video game, but since you are invested in the outcome of these sympathetic characters, the razzle-dazzle heightens the dramatic tension rather than distracts.

Musical adaptations of well-loved movies can be a mixed bag. For every “The Producers” there is a “Carrie”. “Back to the Future” has the benefit of source material that strongly relied on music as an important element, and solid structure that was already teetering to the melodramatic. Therefore, perfect for a big, exciting, brightly colored Broadway musical!

Try to arrive early to the Bushnell and enjoy the outdoor recreation of an 80’s dance party, complete with a chance to get a selfie with the “real star” of the show (Hint: it has four wheels)

Personal note from the reviewer: So anyway. . . .this will be my last review for “In the Spotlight”. Over 30 years ago, publisher Shera Cohen sent a young engaged couple off to review “My Fair Lady” at the Bushnell. It is only appropriate that our last show was at this venue, and the show is one that speaks to both the past and the future. Between Bravo Newspaper and In the Spotlight, I’ve had the opportunity to see and comment on more theatre than I ever imagined we would and I feel very lucky to have done so. I want to thank Shera Cohen for trusting my words to contribute to people’s discovery and enjoyment of the arts.

REVIEW: The Bushnell, "Some Like It Hot"

The Bushnell, Hartford, CT

www.Bushnell.org

through May 4, 2025

by Jarice Hanson

 

For fans of the 1959 “Some Like It Hot” movie with Tony Curtis, Jack Lemmon, and Marilyn Monroe, by all means get to the Bushnell and see the updated version of the story complete with music and a lot of tap dancing. 

 

This story has aged remarkably well, but with the help of an updated book by Matthew Lopez and Amber Ruffin, and music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman, this show brings plenty of laughs, and a feel-good vibe to today’s world.

 

Photo by Matthew Murphy

Set in 1933 Depression America, the action on stage is complemented by the Bushnell’s art deco architecture. This is an old-fashioned musical that is pure entertainment, delivered by a fine cast of singers and dancers guaranteed to put smiles on faces.

 

The Broadway version was a sparkling gem on the boards in 2022. The Bushnell production is one of the first touring companies to bring the big, lavish musical to this region.

 

The story is fairly simple. Two male musicians witness a mob hit and have to go into hiding. Hoping to make it to Mexico, they see the opportunity to join Sweet Sue and her Society Syncopators, an all-woman orchestra traveling across the country. When confronted with a sexy singer named Sugar Caine, portrayed deliciously by Leandra Ellis-Gaston, the two heroes, Joe/Josephine, masterfully played by Matt Loehr, and Jerry/Daphne, played by Tavis Kordell, evade thugs, find love, and hilarity ensues. 

 

Kordell may have the greater challenge in making his character believable, but he brings such thought and dignity to the role, and builds the character slowly so that the audience is ready for the updated twist that emerges in Act II. His honest portrayal is so convincing that the audience cheered what otherwise might have seemed like a simple line—but in the context of contemporary times, the simple line is profound. 

 

A surprise character emerges in Osgood Fielding, acted by the energetic Edward Juvier, whose performance would have made the originator of the role, Joe E. Brown, proud. While every voice in the cast is exceptional, Juvier’s romantic rendition of “Fly Mariposa, Fly” is a masterpiece.

 

This cast overflows with talent. Almost everyone sings and dances, and Nicholaw's choreography is a force to behold. In addition to the leads, the all woman "orchestra" sings and taps throughout the show.

 

Act II is also peppered with a highly creative mad-cap number reminiscent of the Keystone Kops. The result is non-stop fun that reminds audiences of what a Broadway musical used to be, and it fills the heart with joy.

 

Review: The Bushnell, "Six, The Musical"

The Bushnell, Hartford, CT

www.bushnell.org

through Jan. 5, 2025

by Suzanne Wells

What do you get when you mix historical female role models with modern-day rock icons? “Six, The Musical” by Toby Marlow and Lucy Moss. Based on the six wives of Henry VIII, the show reveals each of their lives through the musical influences of rockstars like Beyoncé, Rihanna, and Ariana Grande, to name a few. This all-female cast and band put on a rockin’ concert, conveying each woman’s strengths, weaknesses, and ultimate outcomes.

The atmosphere is a contrast between medieval and current times. The stage, designed by Emma Bailey, is set as a dark castle. The lighting, designed by Tim Deiling, and the scented fog contribute to the overall environment, making the audience feel as if they are attending a court banquet. Yet the modernized Tudor-era ball gowns, created by Gabriella Slade, incorporate a blinged-out, metallicized style found at any contemporary rock concert.

 

The choreography of modern dance moves conveys a myriad of emotions—joy, strength, lust, revulsion, horror—all the raunchy debauchery associated with the 16th century. The use of modern-day rituals and references makes these historical figures very relatable and adds a little levity to the storyline.

Each wife presents her story through a clever, witty solo drawing parallels between the past and present. While every song sweeps the audience into the excitement and emotion of the production, Kelly Denice Taylor’s voice while performing the power ballad “Heart of Stone” clearly moves the soul. “Get Down” performed by Danielle Mendoza is a feel-good, toe-tapping good time. And “All You Wanna Do” sung by Alizé Cruz creates a flirtatious vibe, revealing the destructive nature of repetitive patterns. The performers' vocal abilities are truly impressive, and their energy is infectious.

Whether a history buff, a music lover, or just looking for a fun night out, “Six” has something for everyone. This must-see show inspires strength, solidarity, respect, and equality; a unique and empowering musical.

Review: The Bushnell, “The Lion King”

The Bushnell, Hartford, CT

www.bushnell.org

through December 1, 2024 

by Lisa Covi

There are few things in modern life as clear and entertaining as the story in a Disney musical. It shows stark differences between villains and heroes; children and adults can laugh at the same jokes, and there is always a happy ending.

 

The tale delivers a message that all can agree on: that the circle of life continues when we are all able to take care of each other and our world. If we cannot “feel the love tonight” every day, the Bushnell offers the experience of joy in pageantry, performance, and pathos of this triumphant journey.

"The Lion King" musical debuted in 1997 based on the animated 1994 film where much of the music and most of the plot originated. Similar to the biblical stories of Joseph and Moses, where some of the themes are drawn, the action takes place on the continent of Africa.

 

On stage, the production hits hard and fast at the beginning with the score by Hans Zimmer, Elton John, and others that have a vibe between Graceland and Zulu chant. The stylish scenery is simple and evocative, incorporating cast members as grasslands and scrim to project upon. The elephants in the room (along with lions, gazelles, and hyenas) are large hybrid costume/props that resemble puppets the performers inhabit. The distinctiveness of this particular show is the way that the cast performs the drama and music in a physical style using these mechanical devices. The effects blend lighting and music to consistently awe the audience.

The Bushnell is the ideal, large venue for "The Lion King". From the orchestra pit to the ceiling, entrances and performances even take place in the balcony.

 

The non-puppet protagonist Rafiki sings some of the best music. Portrayed by  Mukelisiwe Goba, his character calls out the mood of each act. Peter Hargrave is a deliciously deep-throated Uncle Scar who contrasts with brother Mufasa, Darnell Abraham. They manage their recognizably branded headpieces while projecting the human characteristics each actor brings to the part. The youngest performers of Simba and Nala conveyed pathos and energy. Characters Timon and Pumbaa as Simba's meercat and warthog friends nearly steal the show with personality cast upon the costumes. This cast was more than musical actors – they performed like Ginger Rogers – backwards and in high heels. The entire seasoned ensemble delivered a satisfying and hearty show.

The audience was clearly enamored and laughed heartily at the modern references and inside Disney jokes. The only noticeable minor distractions were an acoustic muddiness in the hall that made dialog sometimes difficult to understand, and a shadow that occasionally appeared on the back wall during a spotlight sequence.

 

The production was a magical masterpiece of visual and aural pleasure. As someone who came expecting an experience based on Disneyland's Lion King Parade from the 1990's, it was pleasantly surprising to discover that Broadway's highest grossing production truly lives up to the title “World's #1 Musical.”

REVIEW: Hartford Symphony Orchestra, "Prokofiev"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

September 27-29, 2024

by Michael J. Moran

For the first weekend of their 2024-2025 “Masterworks” series, the HSO’s Music Director, Carolyn Kuan, followed an HSO premiere of a Romantic showpiece honoring two orchestra members with a double helping of favorite masterpieces by Russian composer Sergei Prokofiev.

After a stirring traditional season-opening national anthem, HSO Concertmaster Leonid Sigal and Assistant Principal Second Violinist Jaroslaw Lis soloed in Spanish violinist-composer Pablo de Sarasate’s 1889 “Navarra” for two violins and orchestra. Celebrating their 20th and 30th HSO anniversaries respectively, they traded the virtuosic runs and sweet harmonies of this lively folk-based waltz with the polish and flair of longtime colleagues, warmly supported by Kuan and the ensemble.   

Sigal introduced their encore – the “Allegro” second movement of Prokofiev’s 1932 sonata for two violins – as a bridge between the bulls of Sarasate’s native Pamplona and Prokofiev’s wolf. The two soloists met the technical challenges of this brief, astringent workout with aplomb.

Next came Prokofiev’s most popular work, “Peter and the Wolf,” which he subtitled “symphonic tale for children, for narrator and orchestra.” Written in 1936 for the Moscow Children’s Theatre, it uses different instruments of the orchestra to depict characters (Peter, his grandfather, a bird, a cat, a duck, and a wolf) in an original story by the composer about the importance of courage.

While Kuan and the HSO fully captured the dramatic spirit of the story and its happy ending, the standout performance was the finely tuned, folksy but urbane narration of music entrepreneur and HSO board member June Archer. When he related how (spoiler alert) the wolf swallowed the duck, younger audience members audibly gasped.

The program closed with a blazing rendition of Prokofiev’s 1944 fifth symphony. Composed when World War II was turning in the Allies’ favor, he intended it as “a hymn to free and happy Man, to…his pure and noble spirit.” The opening “Andante” was reflective and vibrant; the whirlwind “Allegro marcato,” relentless and sardonic; the slow “Adagio,” alternately radiant and brash; and the closing “Allegro giocoso,” an exuberant romp.

The HSO’s next Masterworks will again honor Sigal, who will conduct on October 18-20.

Review: The Bushnell, “Beetlejuice”

The Bushnell, Hartford, CT

www.bushnell.org

May 28-June 2, 2024

by Jarice Hanson

If you think the stage production of “Beetlejuice” will be faithful to the popular film, keep an open mind and throw yourself into a fun-filled performance at The Bushnell. There are similarities between the film and the musical—enough to please the full house, many of whom were obviously fans of the original film, but seeing the story unfold on stage is a special treat. The story may be a bit silly and a bit of fluff, but the very talented cast of this touring production and their team put on a show that is entertaining, and just plain fun. Visually, there are more than a few moments that have a “Wow!” factor.

Justin Collette in the lead role is fabulously funny and knows how to work with a live audience to involve them in the performance. He charms and repulses the audience with his antics. Collette is a master of working with his voice. He can growl one minute, and shift to a full-chested belt the next.

 

Photo by Matthew Murphy

Playing the role of the young Lydia, Isabella Esler gives her music a beautiful voice and
impressive range. While her bio indicates that she is making her professional debut in this company, it also states that she “recently graduated high school.” Much of this show rests on her shoulders, and if this production is any indication of her ability to work on the professional stage, she has a bright future.

 

While the six principal performers have excellent voices and wonderful stage presence, the large ensemble of 20 performers work energetically in a wide variety of singing, dancing, and comic roles. 

Director Alex Timbers, Choreographer Connor Gallagher, and Scenic Designer David Korins have teamed up to keep the action flowing. Different parts of the stage seem to transform within seconds, an homage to the play’s filmic origin. William Ivey Long’s brilliant costumes set characters apart from the colorful, sometimes off-perspective backdrops.

The music and lyrics by Eddie Perfect (yes, that is his name) are delightful and whimsical, but unfortunately the Bushnell’s sound system can be tricky.  Collette easily overcomes the problem by careful articulation of words and lyrics, but some lyrics and lines by other performers are muffled or lost. 

“Beetlejuice” is not one of those plays that gives those in attendance a lot to think about, but it does raise spirits, draw the audience into a special world of make believe, and allows everyone to just relax and enjoy a good story. There were many children in the audience so perhaps it’s no longer necessary to sound this “warning” but there are words, gestures, and a few lines that might give a parent pause before bringing the very young to the theater for "Beetlejuice".  At the same time, there are many more moments of magic and folly that will entertain children of all ages.

 

Review: The Bushnell, "Wicked"

The Bushnell, Hartford, CT

www.bushnell.org

through May 12, 2024

by Suzanne Wells

"Wicked" is a playfully, mischievous musical presentation at the Bushnell in Hartford, Connecticut. 

Photo by Joan Marcus

Through a dizzying myriad of themes, including nature versus nurture, the harm of classism, the detriment of excluding those who are different, and the power of hope, kindness, and love, "Wicked" retells the story of "The Wonderful Wizard of Oz". Beginning with the death of the Wicked Witch of the West, and in keeping with all funeral celebrations, curiosity brings about the story of the bemoaned Witch's life, her hopes and dreams, her hardships, her friendships, her enemies, and her romances, as told by her best friend, Glinda.

Glinda, played by Celia Hottenstein, is a popular, perky, effervescent character who “seems” to get everything she wants in life. Hottenstein’s comedic timing and vocal range enhances the character's outrageous audaciousness and truly shines in her rendition of “Popular.”

Olivia Valli’s dramatization of Elphaba a/k/a The Wicked Witch of the West, as an in-your-face, termagant forced into being the scapegoat despite her good intentions is the perfect counterpoint to Glinda’s flighty vivaciousness. Valli’s renditions of “Defying Gravity” and “No Good Deed” are breathtaking for both the artist and the audience.

The brusque, productive manner of Kathy Fitzgerald of Madame Morrible; and Tom McGowan's creation of the charming Wizard, are spectacular as the anti-heroes. Boise Holmes’ portrayal of Doctor Dillamond is emotionally moving.

As for the atmosphere, it’s definitely not Kansas. The scenery is a medley of vibrant colors making up poppy fields and the yellow brick road. The Emerald City is dazzlingly vibrant enhanced by the contrast of metallic gears framing the stage.  A variety of dancing from simple box steps to complicated ribbon and acrobatic routines add to the enchantment. The costumes, a mixture of wigs, colors, and textures, complete the bizarre elements of Oz, thus creating a world where everyone is different, and ultimately the same.

"Wicked" offers a multitude of sights, sounds, and emotions; one might have to see it more than once, to take it all in.  

Review: The Bushnell, "Disney's Frozen"

The Bushnell, Hartford, CT

www.bushnell.org

February 9 - 18, 2024

by Suzanne Wells

The Magic of Disney comes alive in the musical production of "Frozen" directed by Andrew Flatt, Thomas Schumacher, and Anne Quart. The story of two sisters who face their greatest fears and discover, that despite their differences, their love for each other will (surprise!) save everyone.

Set in a Nordic kingdom, the combination of scenery and an interactive light display magically transform a warm, inviting palace with a lilac filled garden to a sparkling, solitary, ice castle on top of a mountain.

Anna, played by Lauren Nicole Chapman, gives an energetic, occasionally salacious, performance. Everyone will fall in love with Anna’s ever hopeful, sometimes challenging, awkward youthfulness and her warm, loving heart. Chapman‘s talented acting, singing and dancing abilities make her a joy to see live onstage.

Elsa, played by Caroline Bowman, is a solitary, young woman fearful of her own abilities, but devoted to her family. Bowman does an excellent job of conveying the conflict between duty and desire, although at times, it is difficult to perceive her as a young woman coming of age.  However, all disbelief is suspended when she sings. Her voice enchantingly transports you into the storyline so that her inner struggles become your own.

Hans, played by Preston Perez, is an actor to keep an eye on. His transformation from loving prospective husband to calculating, manipulative usurper shocks the audience so much so they booed him during the end of the night accolades. It is said, if you can play the villain well, you can play anything. This reviewer looks forward to seeing Perez, perform anything in the future.   

Special mention and kudos go to Jeremy Davis as Olaf, and Dan Plehal as Sven. Admittedly it was a little distracting to see the puppet master, Davis appear with Olaf, but within seconds of his?/heir? entrance, the two merge into one lovable snowman.  Plehal‘s mimicry of a reindeer is so realistic that one questions if Sven is animatronic or human. In addition, comic relief is provided by Evan Duff as Lord Weselton, and Jack Brewer as Oaken is “Hygge”.

There is so much more to say and even more to personally enjoy in this production of "Frozen". It is a must-see experience for the whole family. 

REVIEW: The Bushnell, "Moulin Rouge! The Musical!"

The Bushnell, Hartford, CT

www.Bushnell.org

Through November 26, 2023

By Jarice Hanson

 

Photo by Matthew Murphy

The Bushnell has stepped up its game this year with touring companies that are better than ever. In the current production, a cast of 38 talented singers and dancers accompanied by an exceptionally tight 10-piece band bring the Broadway spectacle "Moulin Rouge! The Musical!" to enthusiastic audiences in a sexy, suggestive treat for the eyes and ears.

 

The plot is thin, but the story is secondary to this experience for the senses.  Scene designer Derek McLane has created a beautiful, appealing cavalcade of sets to simulate the original club, the Moulin Rouge, which opened in the Montmartre area of Paris in 1889 and where the cancan was born.

Seamlessly, the sets morph from the club to the streets of Paris, celebrating the bohemian life, and the elegance of the wealthy. McLane's work is complimented by Justin Townsend’s spectacular lighting design and Catherine Zuber’s risqué, gender-bending costumes. Choreographer Sonya Tayeh won a Tony, Drama Desk, and Outer Critics Circle Award for her innovative dance and movement, and this cast delivers the intention of the choreography with energy and style.

 

When Baz Luhrmann created the original movie, "Moulin Rouge!," he used popular music as the soundtrack. In this staged production of the film, some of the music has been updated to include musical artists like Lady Gaga, for example, but the songs are all tunes the audience would know from other musical artists. There are no original songs written for the stage production, but those songs seem to take on a different meaning when interwoven into the sketchy story.

 

Gabrielle McClinton is a lovely leading lady who is the titular star of the Moulin Rouge, and Christian Douglas is the young American suitor with whom she falls in love. Both have wonderful voices that express great range and ability to interpret the songs. Robert Petkoff as the MC of the club delivers the comedy and Parisian smarmy quality expected in this type of spectacle; and Andrew Brewer is the sexy, evil Duke.  

 

The show is long – 2 hours and 45 minutes including intermission, and the two acts are somewhat uneven in action and pace, but that is not the point of "Moulin Rouge! The Musical!"

 

Audiences desiring a memorable story may be disappointed, but anyone who is familiar with the Baz Luhrmann film with be thrilled with the experience of being drawn into the environment of Moulin Rouge! the place, the experience, and the spectacle. The show is pure fun and fantasy, and very well done.

REVIEW: The Bushnell, “Mrs. Doubtfire”

The Bushnell, Hartford, CT 

www.bushnell.org

through October 8, 2023

by Michael J. Moran

 

Photo by Joan Marcus

Based on the 1993 film of the same name, this musical adaptation played on Broadway from
October 2021 to May 2022. The Bushnell is the second stop on its 10-month North American tour, in which Rob McClure reprises his Tony-nominated Broadway performance in the title role.   

The story follows Daniel, an unemployed but talented San Francisco voice actor, through the heartbreak of divorce from his ambitious fashion designer wife Miranda and separation from their three young children, Lydia, Christopher, and Natalie to their reunion when Miranda unwittingly hires Daniel (disguised as an elderly British nanny) as a housekeeper. A series of often hilarious misadventures leads to TV stardom for Daniel and a happily reconnected family.     

McClure brings a manic energy to the opening scene that rarely flags for the next two and a half hours. The enormous range of his talent for mimicry and physical comedy puts him in the rare company of Charlie Chaplin (whom he played on Broadway in 2012) and Robin Williams, unforgettable as Mrs. Doubtfire on film. Catchy music and clever lyrics by brothers Wayne and Karey Kilpatrick and a witty book by Karey Kilpatrick and John O’Farrell spread these high spirits throughout the cast. 

Maggie Lakis, McClure’s real-life wife, is a sympathetic Miranda, piercingly poignant in her big Act II solo, “Let Go.” Giselle Gutierrez is a wise-beyond-her-years Lydia in “Just Pretend,” her touching duet with Daniel. Axel Bernard Rimmele and Kennedy Pitney were endearing as her younger siblings. Aaron Kaburick as Daniel’s brother Frank, Nik Alexander as Frank’s spouse, Andre, Romelda Teron Benjamin as Daniel’s court-appointed overseer, Wanda Sellner, and Leo Roberts as Miranda’s suitor Stu are each distinctively over the top. The full company finale, “As Long as There Is Love,” is a heartwarming hymn to not-quite-traditional family values. 

  

Director Jerry Zaks and choreographer Lorin Latarro get special kudos for their intricate staging of several big production numbers featuring nonstop hijinks: “Easy Peasy,” Mrs. Doubtfire’s video cooking lesson brought to animated life; and “Welcome to La Rosa”/“He Lied to Me,” in which (spoiler alert) Daniel’s disguise is inadvertently revealed. Their effects are magnified by Catherine Zuber’s colorful costume design and lively musical direction by Mark Binns and his protean eleven-member band. 

Broadway fans of all ages will enjoy this entertaining and family-friendly show.

 

REVIEW: The Bushnell, “To Kill a Mockingbird”

The Bushnell, Hartford, CT

www.bushnell.org

through July 7, 2023

by Beverly Dane

The drama "To Kill a Mockingbird" is an honest and heartfelt story to cap-off the Bushnell's 2022/23 season. Unusual for this venue is inclusion of a Broadway play, rather than a musical. However, "Mockingbird" is well-worth the change in format.

Photo by Julieta Cervantes

Richard Thomas, in the lead role as Atticus Finch, was welcomed with entrance applause. His stoic figure ignited an electricity in the crowd. The audience could appreciate the embodiment of the Atticus Finch that we’ve all read about. Thomas didn’t disappoint. His paternal, loving, collected, and unassuming portrayal was one of a kind. His "Mockingbird" monologue in particular drew forth a kind of murmur from the audience. It embodied introspection and culminated in applause. 

The heaviest lifting in the play is done by Melanie Moore. She portrays Atticus' young daughter Scout in a way that balances the character’s arc from stoicism to cynicism while maintaining a youthfulness that radiates whenever the moment requires. This role is difficult as Scout's narration is at many times that of a little girl who knows everything but shouldn’t have to. 

Excellent performances abound from other cast members. Justin Mark (Jem Finch) and Steven Lee Johnson (Dill Harris) provide a delicate mix of gumption, bravery, and playful boyishness that any kid who drank water from a hose would recognize. They intricately provide a foil to Moore’s maturity level along with some beautifully timed one-liners.

Stalwart Jacquelyn Williams’ Calpurnia is the most intelligent character on the stage; nearly every line delivered was met with audible reactions from the crowd. Arianna Stucki’s Mayella Ewell was haunting and terrifying. Yaegel Welch’s Tom Robinson was passionate yet subdued. While somewhat entertaining, Joey Collins’ portrayal of the bigoted Bob Ewell seemed reminiscent of a cartoonish villain. At certain points, dialogue was heavily reliant upon straightforward narration, and audience members became restless. 

The challenges seem to come down to the curious choices made in direction and design. The biggest flaw comes from a clunky set design that often detracts from the action, perhaps intentionally? Some scenes can’t quite finish because an actor must move a staircase underneath a platform, for example. It’s difficult to tell if the set was designed in a way to cover the abundance of narration or, in reverse, if the narration was contrived to cover the overly complex and even unnecessary scenic changes.

Scout, Jem, and Dil are superb as the narrators. This is a beautiful concept overall. Yet, movements during the court scenes felt arbitrary, and at times, in the way. With so much talent on the stage let’s just allow actors to do their jobs with honesty and grace and get the furniture, so to speak, out of the way.

Finally: A nod to the unsung heroes at season's end is important. Greeted by a very friendly box office staff, a wonderful woman helped at the concession stand, the security guard wished sincere pleasantries that it made this reviewer, and likely most audience members, feel comfortable. The front of house team of volunteers and employees do amazing work which augments the pleasure of the theatre experience.

Review: The Bushnell, "Ain't Too Proud - The Life and Times of the Temptations"

The Bushnell, Hartford, CT

www.bushnell.org

through June 4, 2023

by Terence LaCasse

Photo by Emilio Madrid

If given choice to spend your last dollar on food or buy a ticket to "Ain’t Too Proud- The Life and Times of the Temptations," spend it on the ticket and feast upon this wonderful production.

Look, I know what you’re thinking. “Another jukebox musical?” I’m right there with you. If I see another plaid jacket or taffeta dress, I might scream. Yet, "Ain’t Too Proud" is a musical tour de force with sleek designs and an emotionally complex amalgam of storylines that shouldn’t be missed.

The musical follows the rise and fall of one of the most successful vocal groups in America, The Temptations. The story is told through the eyes of the group’s founder, Otis Williams, played with fatherly grace, passion, and humility by Michael Andreaus. Harrell Holmes Jr. delivers a soft spoken and effortlessly comedic Melvin “Blue” Franklin that is gilded by the rich tambour of his bass notes. Jalen Harris’ Eddie Kendricks is fun-loving yet combative, and his high notes ring beautifully. Clayton Cornelious portrays Paul Williams as a masterclass in subtlety and love that you can’t help but follow even when he’s standing still. To round out the Temptations is Elijah Ahmad Lewis as David Ruffin; not only a zenith of showmanship and vocal acuity but a conflicted soul whose past haunts through even the best of times.

The mood of "Ain’t Too Proud" is reminiscent of a documentary and rock concert rolled into one. The sleek scenery uses line and texture to convey place and time with perfectly executed projections that allot for seamless transitions. A special shout-out to the costumes and props teams whose attention to detail supply subtle nuance within every scene that grounds the audience to every era of The Temptations' long career.

is nothing short of electrifying. There are too many brilliant performances to list. The talent, charisma, and stamina of this troupe is second to none. The 2.5 hour marathon of music, dance, and heart-wrenching stories steeped in love, race, family, addiction, aging, and heartache is remarkable. Audience members danced and sang along to the iconic songs. 

Recommendation: give in to temptation as the show only has a one-week run.

REVIEW: Hartford Symphony Orchestra, "Mendelssohn Taking Flight"

The Bushnell, Belding Theater, Hartford, CT 

www.hartfordsymphony.org 

May 12-14, 2023 

by Michael J. Moran 

The title of this eighth program in the HSO’s 2022-2023 “Masterworks” series could refer to either of two composers named Mendelssohn whose music it includes. But all four composers on the program, brilliantly led by Brazilian-born guest conductor Alexandra Arrieche, are “taking flight” in different ways. 

Gabriela Lena Frank’s “Elegia Andina” (“Andean Elegy”), which opened the concert, was her first orchestral work. Written in 2000, it reflects the California native’s multicultural heritage by evoking traditional Peruvian music through imaginative use of flutes, clarinets, woodblocks, and tympani. From a raucous opening that depicts the Andes mountains to a quiet close which suggests ancestral longing, Arrieche and the HSO gave it a vivid and colorful spin. 

Next, taking flight perhaps more literally, came Ottorino Respighi’s 1927 suite “The Birds,” his delightful arrangements in 20th-century harmonic and instrumental language of five keyboard or lute pieces by earlier composers. A stately opening “Prelude” (based on Pasquini) was followed by an endearing “Dove” (Gallot), an uproariously clucking “Hen” (Rameau), a ravishing “Nightingale” (unknown English composer), and a comically insistent “Cuckoo” (Pasquini). Woodwinds, brass, harp, and celeste were star players in this charming performance.     

Fanny Mendelssohn Hensel’s efforts to take flight into a musical career were constrained by her father and the conventions of 19th- century German society. But she wrote and performed over 400 songs and piano pieces for private concerts. Her only composition for orchestra, the 1830 “Overture in C Major,” was unpublished in her lifetime and not performed until the 1990s. Arrieche and the HSO brought visceral excitement to this tuneful and tightly structured piece.   

Fanny’s younger brother Felix’s musical career, however, took flight from an early age. One of his last compositions, the 1845 “Violin Concerto in E Minor” quickly became a repertory staple.  Rising African-American violinist Ade Williams was a captivating soloist, who deftly balanced sweet and lyrical with rich and forceful violin tone. Her opening “Allegro molto appassionata” was alternately yearning and energetic, her “Andante,” tender and glowing, and her closing “Allegro…vivace,” light and playful. Arrieche led a sympathetic orchestral accompaniment. 

Williams’ solo encore – a radiant account of the beloved “Meditation” from Jules Massenet’s 1893 opera “Thais” – showcased the lush, mellow side of her artistry to awe-inspiring effect.  

Review: The Bushnell, "Alanis Morissette’s Jagged Little Pill, The Musical"

The Bushnell, Hartford, CT

www.bushnell.org

May 21 – May 14, 2023

by Jarice Hanson

When Canadian singer-songwriter Alanis Morissette’s album, “Jagged Little Pill,” hit the charts  in 1995, it became a world-wide hit and ushered in a new style of music called “alternative rock.” Fast forward 25 years, and the Broadway musical penned by Diablo Cody won the Tony Award for Best Book of a Musical. Cody has created a story behind the music that sets the piece as a domestic drama, full of topics such as opioid addiction, Me Too, gay rights, gender performativity, and other social challenges that continue to perplex in contemporary times.

“Jagged Little Pill" may be one of the most polished touring performances ever to grace the stage of The Bushnell. One reason for the success of the company is its attention to casting exceptional singers—not only are two of the leads seasoned Broadway veterans, but the younger performers all have the vocal dynamics that honor the original music while infusing the production with high-octane energy and passion.

Heidi Blickenstaff plays the lead, the mother of an upscale family of four, comprised of her loving, but workaholic husband played by Chris Hoch; their biological son, played by Dillon Klena; adopted daughter, Lauren Chanel, confronts her bisexuality and fitting into the white family as a person of color. Blickenstaff played the lead on Broadway when the show reopened after pandemic restrictions were lifted, and she and Hoch have wonderful chemistry together.

There is not a weak singer in the group, and there are some amazing and unusual voices. As Jo, the daughter’s best friend/lover, Jade McLeod was an immediate crowd pleaser with her rich, low voice lending a sense of gravity to the problems of high school angst and parental annoyance.  Hoch’s vocal range is dynamic—and in a tapestry of voices in a hall that sometimes blurs the words of the singers, his diction and stage presence turned what might be expected to be the role of an absent husband/father into a hero. 

Cody’s words are often clever and witty, and director Diane Paulus creates stage pictures that give the script’s words deeper meaning. Creative set pieces designed by Riccardo Hernandez give just enough suggestion of place to guide the eye toward the action with no distraction. The onstage band conducted by Matt Doebler placed high above the actors on the stage are occasionally visible to remind us that the music drives this show, and this arrangement works perfectly to remind us that this show is first about the music, and second, about us.

It’s easy to say what “Jagged Little Pill” is not. It is not a typical jukebox musical, nor is it designed to teach a moral lesson. It is a “slice of life” look at contemporary problems, many of which will resonate with audiences, in the same vein of shows like “Next to Normal.”   

For audiences who know the music or are particularly attuned to the controversial topics of the show, this production is sure to please. But because the show attempts to cover so many difficult topics, it could be said that it never goes into depth enough to suggest anything but a superficial resolution to the problems of the family, or the cultural problems of the day.