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Following, even perhaps overshadowing, the long thread of issues with “Miss Saigon” is its appraisals — the dazzling show tunes and choreography, sumptuous stage design and the undeniable technical feat of the production.
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The play, which first premiered in the U.K. in 2013 before spreading to Broadway in 2017 and then BareStage this past weekend, progressed in much the same way, attempting to adapt the book as closely as possible for the stage.
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When I was in seventh grade, I watched ABC Family’s “Make It Or Break It” and became obsessed with gymnastics. I was convinced that I could be the next Nastia Liukin or Shawn Johnson — all I needed to do was have a few lessons and I would totally be
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Breaking the fourth wall has never been done so seamlessly as it is in Ray of Light Theatre’s “Hedwig and the Angry Inch.” The punk rock musical, which first gained a cult following when it opened off-Broadway in 1998, only recently gained mainstream attention in 2014 when it premiered on Broadway.
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What most strikes anyone watching “The Miseducation of Cameron Post” is its abrupt moments of humor, given the film’s melancholy subject matter.
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Bringing such an epic tale to a small stage could easily have been an obstacle, but artistic director and choreographer Matthew McCoy uses it as an advantage to create an intimacy with the audience.
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The greatest challenge of “Cabaret” is balancing the bold rendition with the faithful one. The Refuge’s production exists somewhere square in the middle of the spectrum.
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Despite growing up without many multicultural roles to look up to, Beltran still believes theater is an effective medium to push for diversity.
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Much like how the teacher character Dewey Finn becomes the hero of his fourth-grade class, the kids undeniably look up to the adults in the production’s cast.
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The musical’s critical success led to a London production and a U.S. tour, which has now arrived at the SHN Orpheum Theatre in San Francisco.
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