In Transit NYC Reviews and Tickets

"Ultimately, it’s the talented cast that makes this a pleasant commute...The a cappella trope wore on me by the end. Seibert and Mackey each had big final numbers they could undoubtedly nail, but they fell a little flat when backed by oohs and ahs. Perhaps the songs deserved a more soaring composition. 'In Transit' arrives at its Broadway station safely and soundly, but misses the emotional connection needed to make it an express hit."
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"Broadway’s first a cappella musical–and the results aren’t so great, in spite of the meticulous vocal engineering…The show is well-meant, but the premise is corny and the characters are generic. The pop score is notable only because it is being performed a cappella. Director-choreographer Kathleen Marshall injects the staging with a heavy dose of energy, and the performances are decent, but I still wouldn’t recommend taking the subway to 'In Transit.'"
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"'In Transit' takes the 'subway as limbo' metaphor a little too much to heart, and often feels like being stuck on a Coney Island-bound N...The four writers seem to stick only in the collegiate mold of multipart harmonies, not extending themselves into the styles of barbershop, doo-wop, religious choral music, or even rock, pop, and R&B...Despite the less than stellar material, the actors manage to make a lot of 'In Transit' fairly enjoyable."
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"The songs themselves are an appealing collection of catchy pop numbers, rap and Latin rhythms, staged with spirited bounce by director/choreographer Kathleen Marshall...'In Transit's' view of the city teeters between romanticized and sanitized...Happy endings come to those who work for them and the pulse of Gotham is a multicultural mix that sounds glorious as sung by the talented company. Leave your cynicism on the other side of the turnstile and swipe yourself in."
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"Marshall has turned up the volume just enough, giving it a more insistent pulse, a sense of nonstop movement that proves highly suitable to the occasion...The songs are the thing here, and they neatly capture the tone of a city where everybody is on the way to somewhere new...'In Transit' is also fitted out with a solid cast of Broadway utility players, each of whom gets a chance to shine...Marshall's kinetic staging concentrates on the warp and woof of city life, keeping things buoyant."
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"Sometimes it sort of works, but usually it, uh, goes off the rails. Too many of the 100 intermissionless minutes are just plain unintelligible...It is, just barely, good enough, with a lot of prettily singing pretty people who are all immensely likable, albeit burdened with no charisma or star quality...You won't remember long what they do or what their songs were about. Nor will you remember much about Marshall's direction and choreography, which are electrically undistinguished."
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"A small-scale, crowd-pleasing show...Personal issues are played out primarily through catchy songs that smartly capture the characters’ emotional states, each of which is beautifully performed. Moreover, it’s a great testament to these fine actors that they deliver a second dimension of sorts to their sketchily drawn alter egos...They’re a little too clichéd for us to fully care about about whether they get their happy endings...Marshall moves the show at a steady, slightly unrushed pace."
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"Corniness isn’t superseded by the accomplished presentation and fine performances in the likable but minor musical...The score is a pleasant collection of serviceable songs. The book is a workmanlike blueprint of peppy clichés...All of the cast's characterizations are appealing and they uniformly demonstrate exceptional singing, dancing and acting skills...'In Transit' attempts to dramatize NYC's sense of awe and wonderment into a full-length musical with bland results."
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