After
Midnight
This
musical recreates the experience of going to a Jazz Age nightclub, and the
number they performed sizzled with energy and uproarious excitement. Some nice voices and incredible dancing, the kind of dancing that makes me salivate with
jealousy.
Cabaret
Yes, I
know they’ve done it before. I know that
nothing’s really changed, but come on!
Alan Cumming as the Emcee doing “Willkommen” – that’s worth revisiting
any day. His captivating, sexy
performance remains one for the ages.
Violet
I’m not
too familiar with the musical set in the 1960s U.S., but their song was lovely
and well-sung, and you never go wrong
with Sutton Foster. She was wonderfully
winning as a young facially-disfigured woman traveling across the country to
meet a faith healer. One nitpick, though
– no scar! Did Sutton just not want to
mess with that makeup for Tony night, or does Violet not actually have a
visible scar in the show? What’s up with
that?
Hedwig
and the Angry Inch
I’ll
admit to being shocked that they did “Sugar Daddy” (I would’ve bet money on “The
Origin of Love” or “Wig in a Box,”) but I suppose it was maybe so Lena Hall
would get to do a bit more singing.
Either way, while Neil Patrick Harris is no John Cameron Mitchell, he
made for a very fun Hedwig. This
performance exploded with energy and cheekiness, and I had a blast watching
Hedwig interact with the audience members.
A
Gentlemen’s Guide to Love and Murder
I knew
very little about this show going in, but I just adored this performance. Excellent music and tremendous performances,
acting and singing alike. The scene was
a classic farcical “man tries to hide two women from one another” setup, and it
was fantastically executed with two constantly opening/closing doors and a
terrific trio of performers. Not much
spectacle, but heavy emphasis on quality and talent. More than any other, this number made me want
to learn more about its show.
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