Hedy Weiss is a critic with Chicago Sun-Times. This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.
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“’Tootsie’ feels a bit like show business balm – a feel good work for the #MeToo era...There is punchy if unexceptional music, and a slew of clever lyrics...You never doubt Fontana’s ability to carry off the ruse...He has a terrific voice, and sings with equal skill and naturalness as both Michael and Dorothy...Ultimately, ‘Tootsie’ is a lightweight confection about show business itself. It could use some trimming. And its all-important final scene could use some fine-tuning.” Full Review
"This is not to disparage the show’s exceedingly attractive and talented leads who forge such a palpable chemistry. It is simply to say that the show is predictable in every way, and that its score is essentially a serviceable pastiche...There is something a little tired and overly familiar about 'Pretty Woman,' a story that feeds on the decades-old roots of the #MeToo movement even as it simultaneously tries to serve as a deftly massaged corrective." Full Review
for a previous production "McLean chronicles the writer’s journey from determined atheist to Christian believer with such wit, grace, braininess and economy that those on either side of the 'God spectrum' are sure to delight in it...A masterful actor, he instantly convinces you that you are in the presence of C.S. Lewis himself...It is an exercise in questioning the very essence of what it means to be alive. And you can remain an avid doubter even as you enjoy its bristling, provocative, highly entertaining arguments." Full Review
for a previous production "A bravura one-man show that should have ticket-buyers lining up at the box office…A dazzling, heart-piercing 90-minute work…Not since Mr. Miranda and John Leguizamo burst onto the scene has there been such an explosion of energy, comic verve, playful sexiness, raw emotion and irresistible storytelling emanating from one man…Here is autobiography at its most artful (and political), with the language of rap, hip-hop, spoken word and live looping." Full Review
for a previous production "The music is unquestionably infectious. The dancing is sensational...But there are big problems here, too, and, as is so often the case with new musicals, they are rooted in the book...Following the show’s highly entertaining opening blast, the story is set in motion from too many directions, with Havana and Miami becoming oddly jumbled, both chronologically and scenically...There is a great deal of promise here. But 'On Your Feet!' is not quite walking strong." Full Review
for a previous production "This is a hugely ambitious play, streaked with much humor and heartfelt talk. And there is a particularly wonderful sequence in which several of the characters take turns singing “improvised” verses. But really, isn’t there something terribly naive and simplistic about the belief that the souls of the dispossessed are innately nobler than those of the strivers?" Full Review
for a previous production "'Smokefall' is a glorious play with a unique blend of sophistication and open-heartedness. It is a work that leaves you thinking about every human connection you have, whether on an intimate scale or the cosmic one. And Haidle’s genius is that along with the pain and wistfulness come great bursts of true comic brilliance, so you leave the theater in a strange state of tearful exuberance." Full Review
"I’d suggest its producers jettison their plans for any future Broadway run and simply drop the show down on a stage in Vegas, which is where it belongs...The show comes with a surprisingly perfunctory, often clunky book by Elice, and with pedestrian direction by Moore and choreography by Gattelli. It makes all the predictable stops...The most winning aspect of the show is how three different actresses with powerful voices so deftly capture Cher at various stages of her life." Full Review
for a previous production “Blank and Jensen have done a radical about-face in terms of tone and content in ‘How to Be a Rock Critic’, with Jensen in a bravura turn as the dissipated but fervent Bangs thriving on the ideally paced direction by Blank...Jensen, with his gingery hair and beard, expressive face, desperate body language, and perfectly conjured unwashed demeanor, takes us wholly inside Bang’s brain and soul and heart and dissipated existence.” Full Review
for a previous production "This is a musical whose beauty is far more than skin deep, with its many layers accruing gradually but confidently …’War Paint’ features a finely crafted book by Doug Wright; a moving, richly varied score by composer Scott Frankel and lyricist Michael Korie, and fluid direction by Michael Greif...LuPone’s accent gives Meryl Streep a run for her money, and her power pipes have never sounded more glorious...The large pit orchestra does full justice to the show’s formidable score." Full Review
for a previous production “If ever there were a ticket stub that should bear the words 'carpe diem,' the one for ‘Ride the Cyclone’ would be it. The brilliance of it all is that you careen toward that conclusion filled with every bit as much delight and wonder as a sense of doom…This musical — with a brilliant genre-hopping pastiche score full of ingenious lyrics — has been hauntingly directed…Every element of the show’s design is magical…An emotional thrill ride of a musical that every adult will savor." Full Review
"Inspired by the beloved 1951 film, Wheeldon has created what might best be described as a story ballet on steroids. Everything in this new musical moves — from the actors (two of whom just happen to be world class dancers), to the fabulously “choreographed” projection-enhanced sets and costumes...And even when the dialogue falls a bit flat, the story is in such perpetual motion that words seem almost beside the point. Dance is the only language really needed here." Full Review
for a previous production "The musical comes with a back story almost as intriguing (and true) as the one it spins about the creation of the hymn whose title it bears. For the show’s score — and it is a uniformly solid, always fervent and often soaring piece of work full of well-crafted lyrics and character-driven melodies — happens to be the first professional effort of a complete unknown...Gabriel Barre’s direction is clean and crisp, if, like the show as a whole, a bit wooden." Full Review
for a previous production "Keaton arrives on stage and the more you watch him and listen to him, the more he becomes the man himself. It is a triumphant performance, capturing the essence of the man without mimicry of any kind. And the script is superbly modulated to capture a multitude of moods and events, and the dramatic ups and downs of a remarkable life." Full Review