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 Welcome to the Critical Review blog site! We will be publishing reviews that show exemplary eye for critique. 

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Hadestown Review - Katelyn Keyes

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  My first impression of Hadestown was that this was a party on stage. The show had been talked up to me by many of my friends and the audience was going wild as soon as the lights dimmed, and the production certainly justified all the excitement. Hermes, the host of this party, was played by the exuberant Jaylon C. Crump, who led the audience through the story with a passion that was shown equally in happy and serious scenes. He also introduces each character as they make their grand entrance into the party that is the opening number, “Road to Hell”.  One of the first characters he announces is Persephone, played by Namisa Mdlalose Bizana, who, while having a nice voice, never quite gave the energy and commanding presence needed to play the boisterous Persephone. This was proven in her somewhat lackluster performance of “Our Lady of the Underground” that failed to have the power behind it necessary to make the song effective. In striking contrast, Hades (Nickolaus Colón), th...
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‘The Phantom of the Opera’ Lands in Minneapolis, Haunting and Stunning as Ever by Peyton Webb

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Daniel Lopez as Raoul, Vicomte de Chagny and Jordan Lee Gilbert as Christine Daaé in The Phantom of the Opera North American Tour Photo: Matthew Murphy and Evan Zimmerman Over a year after the conclusion of its record-breaking Broadway run, Andrew Lloyd Webber’s The Phantom of the Opera is back to enchant theater-goers across the nation. The North American tour hit the Orpheum last Friday, November 21, the second stop of its highly-anticipated return. Producer Cameron Mackintosh promised “a dazzlingly fresh version of the much-loved original,” and dazzlingly fresh he delivered, indeed. This updated Phantom reopened in 2021 at His Majesty’s Royal Theatre and was applauded by London critics and everyday fans alike. Now, the production has come to haunt American stages, and it’d be a shame to miss the wondrous horrors it brings. The newer version maintains much of the late Maria Björnson’s original award-winning designs. Her magnificent sets feature the grandness and ornamentation of a...
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& Juliet: I Don’t Really Want It That Way by Katelyn Keyes

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Out of all the musicals I’ve seen, I feel that & Juliet is a tough one to find my opinion on. Did it have a powerful impact that left me changed? Not really. Did it have breathtaking dancing, Oscar-worthy acting, or astounding songs? Not really. But, did I have fun? Absolutely.  I began to get a sense for the fun when it opened with a jazzy preshow, where some of the actors come onstage before the official start to dance and liven up the audience. The dancers seemed to be quite talented, and that raised my hopes for the show itself, but sadly, there was no big dance number that showed off the amount of talent in this ensemble. By that beginning, and the general hip-hop vibe of the show, I had thought that it would be a lot more dance-heavy. The dancing that was there wasn’t bad by any means; in “Blow” there was some large-scale choreography to emulate a club, and the ensemble proved to be effective backup dancers in “Problem/Can’t Feel My Face.” But if the dancing had been m...
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