Here we have a cast that could not have been better assembled, since they fit their respective roles like a glove… or in this case, like a corpse in a hearse! In the title role is Alex Brightman, who is best known for his Tony-nominated performance as Dewey Finn in “School of Rock.” His embodiment of Beetlejuice would make even Michael Keaton shudder. Brightman’s portrayal of the shameless, sailor-mouthed miscreant is complete with spot-on accents and a devilishly convincing comical timing. Brightman’s consistently raspy voice throughout the show is proof that the man has vocal cords of steel, and his performance is a must-watch for Tony voters. Alongside him playing Lydia is Sophia Anne Caruso (“The Sound of Music Live!”, “Lazarus”). Whereas Winona Ryder’s Lydia is low-key and subtle, Caruso’s Lydia has more attitude. Lydia grieves over her mother’s death and barely tolerates her selfish, oblivious father, and Caruso nails the angst needed for the self-proclaimed “strange and unusual” goth teenager.

Vocally, Caruso has a solid belting register that is far beyond her 17 years. Her first big solo number “Dead Mom” is a midtempo rock number in the vein of Paramore, and I can easily see Caruso fronting her own future band if she chooses to do so. Other standouts in the cast include Broadway veteran Kerry Butler (“Catch Me If You Can,” “Mean Girls”) and Rob McClure (“Chaplin”) as the adorkable recently deceased couple Barbara and Adam Maitland. Leslie Kritzer (“Legally Blonde”), who plays Delia, Lydia’s soon-to-be stepmother and life coach, is an absolute riot, as is her co-star Adam Dannheisser (“Oslo”), who plays Lydia’s father, Charles. Also noteworthy is Kelvin Moon Loh (“The King and I” 2015 Revival) as Delia’s ethereal guru Otho. Although a minor character, it would be remiss not to applaud Dana Steingold’s brief but screamingly funny performance as an innocent, easily scared Girl Scout in the second act.

One of the show’s most significant assets is its spectacular set, costume, and lighting design. The production is complete with animatronic sandworms and shrimp-arms, not to mention at least five different backgrounds throughout the course of the show. The set’s gothic aesthetic is spot-on with Tim Burton’s style from the movie, and its immaculate versatility is something that I hope Tony voters remember come spring. Moreover, the costumes are nearly exact replicas of the movie ones (e.g., Beetlejuice’s striped suit and Lydia’s red wedding dress). In classic Broadway fashion, the costume changes in numbers such as “Creepy Old Guy” are swift and stunning. Elsewhere, the lighting design strikes gothic gold. Before the curtain rises, it is covered with a beaming spiral, as if to hypnotize the audience into a world far beyond our darkest fears. Perhaps my favorite use of the lighting is how minimal it is in the netherworld scenes, heightening the Tim Burton-like desolation of the next world. The crew has crafted a flexible set that turns the seemingly impossible into a reality.

Meanwhile, the writing is sensational. Like last year’s production of “Mean Girls,” the book here is not just a total copy-and-paste of the movie to the stage. The book writers Scott Brown and Anthony King (both “Gutenberg! The Musical”) have expanded character backstories. For example, the musical opens with Beetlejuice wreaking havoc in a graveyard shortly before cutting to the funeral for Lydia’s mother. Some plot details have changed, however, such as how Barbara and Adam die in the story’s beginning. A car driving off a bridge, like in the movie, here turns into the couple falling through the floor in their house. With the dialogue, Brown and King have upped the ante on the humor. The script is replete with explosive jokes and lyrics that tip-toe between knee-slapping and just plain wrong (“There are misogynistic guys here/Someday you’re gonna die here/It’s basically Dubai here”). Musically, Eddie Perfect lives up to his surname with his lively rock/swing hybrid score that enhances the brash dark humor throughout the story. The score hits the ground running with the uptempo opening number “The Whole Being Dead Thing.” Other highlights throughout the show include “That Beautiful Sound,” “Creepy Old Guy,” and “Everything Is Meh.” The latter number features another delightful addition to the story: the fictional boy band Boy Inferno, which greets people upon entering the netherworld. Furthermore, fans of the movie will be relieved to know that the two Harry Belafonte songs used in the movie’s iconic dinner scene and finale scene are recycled for the stage version.

The show is already a hit among audiences, with many patrons arriving on opening night in full gothic makeup, dyed hair, and costumes. Ticket-wise, some performances are already down to single tickets in certain sections. Overall, I hope the show is not altered too much when it transfers to New York in the spring. There are already several strong aspects, and I hope that all the aforementioned musical numbers stay intact. As the DC production is currently the only incarnation of the musical, it is hard for me to imagine a better cast than the current one. I do hope though that Otho’s character is expanded. I know his Act II appearance is brief, but I feel that there is much comedic potential to explore with him. Regardless of how the final version manifests, “Beetlejuice” is already a hit of demonic proportions!

WARNING: Contains strong language, suggestive content, and strobe light effects. Not recommended for children under 15.

“Beetlejuice” plays at DC’s National Theatre through November 18th. Get your tickets HERE

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Millennials have flooded the Palace Theatre to relive their childhood and have not been disappointed. The moment you walk in, you see that it has been transformed into a psychedelic, underwater paradise for both theatre nerds and children alike. Seriously, they have kelp made of pool noodles hanging from the rafters.

The musical follows fan favorites SpongeBob, Sandy and Patrick on a quest to stop a volcano from erupting and destroying Bikini Bottom. The original plotline is fairly basic and somewhat predictable. Generally, there are very low stakes throughout the show, but given the content, it’s still a great ride to go along with some lovable characters.

One of the most impressive feats of this musical is the score. It includes a song written by nearly every artist you can think of, from David Bowie to Cyndi Lauper, Panic! At the Disco, John Legend and Sara Bareilles, just to name a few. Though this sounds like a crazy, eclectic group of songwriters for one musical, it kind of works. This does mean that one minute you’re listening to an inspirational pop ballad then watching Plankton rap to T.I. the next, but most of these songs are crazy catchy and fun. Good luck listening to the album and not getting Lady Antebellum’s “Chop to the Top” stuck in your head for hours. There are some songs that could have benefited from a bit more fine-tuning, but overall, the score is fairly cohesive.

The true star of this musical is newcomer Ethan Slater, who portrays the porous protagonist. From the classic SpongeBob giggle to the constant swishing across the stage, Slater truly embodies everyone’s favorite sponge and captures his optimistic giddiness in every scene. Other standout performances include Gavin Lee’s tap-dancing Squidward and Lilli Cooper’s kickass Sandy. And, one breakout performance is Jai’Len Christine Li Josey’s Pearl. Though Pearl is a fairly minor character in the series, Josey’s vocals stop the show in “Daddy Knows Best.”

Other appearances include fan favorites Mr. Krabs, complete with crab claws, Gary the snail rolling across the stage and, of course, the villainous Plankton. This cast delivers killer portrayals of characters everyone knows and loves. It’s clear the creators really tried to pay homage to the television series — and the audience loves it.

“SpongeBob SquarePants: The Broadway Musical” is a show you walk into not knowing quite what to expect, but you will leave with a smile after sitting through an entertaining adventure. Is it groundbreaking musical theatre? No. But if you need a break from the real world, Broadway’s Bikini Bottom is definitely a great place to visit.

The post ‘SpongeBob SquarePants: The Broadway Musical’ Review appeared first on Theatre Nerds.

Ah, beloved “Mean Girls.” It’s the quintessential quotable millennial comedy and the peak of Lindsay Lohan’s career. For years, fans of the movie have begged for a musical theatre adaptation, which creator Tina Fey eventually confirmed to E! News in 2013. The musical finally came to fruition this year at Washington, D.C.’s National Theatre, and the result is teen musical royalty.

The Characters

One thing that has always stood out about “Mean Girls” is its outrageous, unforgettable characters. The ensemble cast for the current National Theatre production fits these characters like a glove, always outdoing themselves as the musical progresses.

Erika Henningsen delivers a perky, refreshing take on Cady Heron, a role originated by Lohan. Her transformation from cheerful, naive new student to self-proclaimed “bossed-up” Queen Bee is magnificent to watch.

Elsewhere, Barrett Wilbert Weed and Grey Henson play narrators Janis and Damien, whose outsider characters are expanded for the musical. Henson is an absolute scream as the flamboyant student whose wardrobe revolves around different divas such as Liza Minelli and Cher. Similarly, Weed retains the snarky comedic timing and rock vocals from her “Heathers” days to take Janis to the next level.

Other standout performances include Kerry Butler as three characters, Cheech Manohar as mathlete rapper Kevin Gnapoor and Taylor Louderman as Regina George. Her eleven o’clock villain number, “Watch the World Burn,” has few equals from any show this decade.

Perhaps the best and most hilarious performance is Kate Rockwell as Karen. Her immersion and comedic subtlety as the “dumb” Plastic is a show-stopping riot, as demonstrated in her song, “I Can Be.”

The Music

Other strengths of the show include its fantastic score by Jeff Richmond, who has composed for Fey’s shows “30 Rock” and “Unbreakable Kimmy Schmidt.” The show’s pop-rock score fits its exciting story and target teenage demographic. Favorite ensemble numbers include “Apex Predator,” “Revenge Party” and “Justice.” Furthermore, Casey Nicholaw’s hyperventilating choreography is mindblowing and is something Tony voters should consider.

Getting Social

Perhaps the show’s best technical aspect is its social media references. Since the plot is updated to 2017, the background screens are chock-full with screenshots of tweets, Instagram posts and Snapsterpieces. These features amplify the high school drama and one-liners and culminate toward the end in a subtle jab Regina makes toward Donald Trump.

Overall, “Mean Girls” is bound to be a hit in New York this spring. In an era of cult teen musicals such as “Heathers,” “Be More Chill” and “The Lightning Thief,” this show is in a clique of its own. How much fun is it? The limit does not exist. “Mean Girls” will make the film’s most devoted fans see it again and again, to which it will always greet, “Welcome back, nerd!”

“Mean Girl: The Musical” plays at D.C.’s National Theatre in a nearly sold-out run through Dec. 3. Get your tickets while they last!

The post So Fetch! ‘Mean Girls: The Musical’ D.C. Review appeared first on Theatre Nerds.

After walking away with only one Tony Award for Best Direction over the summer, this show has gained momentum since it opened in March. Though you might think a show about America’s worst terrorist attack in history would be depressing and not something you’d want to sit in a theatre for two hours to watch, it’s anything but. Oddly enough, you walk out of the theatre feeling better about humanity and the world we live in. It’s this, plus the great music and work of the cast and the crew, that has put this show on the map.

Here’s what you can expect from “Come From Away:”

Welcome to the Rock

Set in the small town of Gander, Newfoundland, “Come From Away” tells the story of the events that took place shortly after 9/11. If you have never heard of this tiny town — which more than doubled in size on the day of the terrorist attacks — this musical gives great insight into this generous place. A musical that could just be utterly depressing is uplifted through the representation of this town and how its citizens helped people from all over the world.

Along with gaining some insight about Newfoundland from the show, there is almost as much representation of this Canadian island in the audience as there is onstage. Many Newfoundlanders travel all the way to New York City to see this show and see their home represented onstage. Along with these Newfoundlanders showing up with flags and cheering in the audience, there are a few natives onstage as well. The cast’s Petrina Bromley (Bonnie and others) is a native Newfoundlander, which makes her representation extra special.

The Strongest Ensemble on Broadway

It’s shows like these that kind of make you wish “Best Ensemble” was a category at the Tony Awards. What is brilliant about this musical is that there is no one lead character. “Come From Away” tells the story of communities. Every person onstage is at least one character as a Newfoundlander and a New Yorker or someone from somewhere else around the world. This means every actor has to get into the mentality of being someone affected by 9/11 or taking care of someone affected by it. This is an amazing choice. Overall, the cast members’ energy and vibrancy they bring to every part they play is phenomenal.

The Storytelling

Not to take any credit away from the actors, but there is another reason why the characters are so amazing. The Tony-nominated book writers for the show, Irene Sankoff and David Hein, interviewed people for years to write this book. They listened to their stories about their experiences from 9/11 and getting stranded in Gander, and then put all these real stories into the show. This is perhaps why no one cast member plays just one character: There are just too many stories to tell.

Perhaps the most notable person featured as a character in the show is Beverley Bass. Phenomenally portrayed by Jenn Colella, who scored a Tony nomination for the role, this woman was the first female pilot for American Airlines. Her story is best portrayed through the song, “Me and the Sky.” This show shed light on people we never knew before, such as Bass, who are true unsung heroes.

The Music

Back to that song sung by Colella in the show, the music throughout is surprisingly uplifting, upbeat and just overall amazing. The beat alone from the opening number, “Welcome to the Rock,” pulls you in for the rest of the show. Again, you might think this show would only be filled with somber melodies and ballads, but this musical has every song you could want in a musical. From the upbeat opening number and “Me and the Sky” to the lively “Screech In,” the show has everything. There are songs that will make you laugh and songs that will make you cry.

Bonus Song:

How This Musical Is Relevant

This musical has one thing very few musicals can achieve: relevance. In this way, “Come From Away” has become something many people didn’t even know they needed. It reminds us that when times get tough, humanity prevails. As seen in the show, we can overcome anything because at the end of the day, humanity is mostly good. This musical takes a terrible event and shows the audience a beautiful story about how a tiny island opened its doors to thousands of strangers. Would this musical have been so relevant just a couple of years ago? It’s hard to say, but it’s most definitely relevant now and definitely worth seeing.

So, just in case you’re still asking yourself whether it’s worth it to see this musical, the answer is yes. Go to the rock. It will feel like home.

The post What To Expect From Breakout Hit ‘Come From Away’ appeared first on Theatre Nerds.

As in “Grey Gardens,” Frankel’s score for “War Paint” is influenced by opera, jazz and Golden-Age Broadway. Certainly a more upbeat and swingy store than “Grey Gardens,” “War Paint” is not without its emotional peaks, such as “Beauty in the World” and “Pink.” Something that caught me off-guard was that many of the numbers in “War Paint” are not as long nor as memorable as those in Frankel’s earlier shows. Nevertheless, where the score sometimes lacks in earworms, it compensates with musical intelligence, depth and density.

Christine Ebersole mesmerizes as Elizabeth Arden. She showcases her voice’s many colors on solo numbers “Better Yourself” and “Pink.” Her silvery soprano blends surprisingly well with Patti LuPone’s brassy mezzo. As the Polish entrepreneur Helena Rubinstein, LuPone sports an on-point Slavic accent and vocally embodies her character’s ambition and desperation. The climactic Act 1 finale, “Face to Face,” is the zenith of both women’s impeccable chemistry and is a highlight on the cast recording. It’s a wonder Ebersole and LuPone haven’t collaborated sooner!

Finally, the ensemble is delightful, especially standing out in numbers such as “Behind the Red Door,” “Necessity Is the Mother of Invention” and “Fire and Ice.” The chorus’ predominantly female croon harkens back to classic ingenue sounds of “Guys and Dolls,” “42nd Street” and “Chicago.” Leave it to the ensemble to give the show, in its own words, the “best face forward!”

Overall, “War Paint” is a tour de force for women in contemporary musical theatre. With a glowing cast, captivating story and striking characters, the cast album is a must-hear.

Have any of you heard or seen “War Paint?” Let us know your thoughts in the comments below…

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