Profile for bwayphreak234

I caught a late preview performance of The Lost Boys this afternoon, and found the entire affair to be a ghastly mess from top to bottom.

There are glaring issues across the board, starting with the book and score, both of which are shockingly awful. The music leans heavily into a generic, Christian rock sound, while the lyrics are often outright laughable. Much of the dialogue is trite and corny beyond belief. Tonally, the show is all over the place. The first act is dark and moody, a

I’ve been (un)lucky enough to see most of the infamous stage adaptations of ’80s/’90s films by now - Flashdance, Dirty Dancing, The Bodyguard, Pretty Woman. And now I can add Beaches to that… distinguished collection.

Jessica Vosk and Kelli Barrett are both truly wonderful and do their best with the material they’re given. Their voices are beautiful, and Vosk in particular gets the chance to showcase both her vocal power and acting chops. Unf

ErmengardeStopSniveling said: "Loved this in both venues but thought it actually worked better at the PAC where the runway could be the star of the show. Somehow the staging felt more chaotic on Broadway."

I didn't see this at the PAC, but I also used the word "chaotic" back when I posted my initial thoughts. There was just A LOT going on at any given moment, and I found it hard to know where to focus my attention at times - sounds like I'm in the m

It's going to come down to Cats vs. Ragtime. I, personally, would love nothing more than to see Ragtime take home best revival. However, we've seen in the past that Tony Voters love a boldly reimagined revival that turns classic material on its head... (i.e. Pippin in 2013, The Color Purple in 2016, Oklahoma! in 2019, and Sunset Boulevard in 2025 to name a few). This new revival of Cats falls right into this pattern.

As much as I love Ragtime as show and think that this new

Let me preface this by saying I loved Titanique when I saw it Off-Broadway. It was hilariously clever, and everything just “worked”. What I saw this afternoon at the St. James felt like a different show.

The physical production has been scaled up nicely enough to fill the larger theatre. However, at its core, this is still a small show that thrives on scrappy energy and intimacy. Here, it feels as though it’s simply been “plopped” onto a bigger stage in a

First things first... the cast is doing tremendous work. It’s clear they’re having the time of their lives, and the talent across the board is top-notch.

I really appreciate the bold vision here. This is a radical reinterpretation of CATS, and it largely succeeds on its own term. It’s a joyous explosion of energy.

From a design standpoint, the production looks fantastic. I missed the Off-Broadway run, but it fits the Broadhurst beautifully. The lightin

I went into The Wild Party completely blind, which something I almost never do with a musical. I usually listen to the cast album and read a synopsis beforehand, but I wanted to try something different this time.

This is a challenging piece. It's dark, heavy, and not built around hummable, earworm-filled songs. That said, I was completely enthralled from start to finish. The show grabs you immediately and never lets up. You don’t get a chance to come up for air.<

I saw Hell’s Kitchen at The Public and absolutely abhorred it. I didn’t end up seeing it again after it transferred to Broadway.

People told me it was better on Broadway, but whenever I asked what had actually changed from the Off-Broadway run, no one could really point to anything specific beyond the show having “more breathing room on a bigger stage.”

To be clear, my issues with the production at The Public had nothing to do with the staging or design -

I caught ALL OUT tonight (love a 5pm curtain!), and I found it to be a very fun, albeit somewhat slight, evening. I didn’t see ALL IN, and this wasn’t even on my radar either, but for the TDF price, I decided to pay it a visit.

Gracie Lawerence was out, but Olivia Puckett was remarkable. What a voice! I really enjoyed the music and the musical numbers peppered throughout the evening (probably more than the actual comedy bits).

All four leads were good. None of them r

ColorTheHours048 hit the nail on the head and took the words right out of mouth.

I did not enjoy this. The entire thing felt stale and strangely lifeless. Yes, the material is undeniably dated, but strong direction can often make even the oldest and dustiest of shows worth reviving. That is not the case here.

Aside from the illustrious Katrina Lenk, the performances across the board were a mess. Most of the cast appeared bored out of their minds. Andrea Martin stumbled over