Steve Nardoni is a critic with Theater Pizzazz. 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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"A baloney-filled, rollicking comedy that has all the inherent hilarity of poking fun at cultural differences...This high-spirited night ended when the men showed us, the troops, how Brits relaxed, through Morris Dancing, a version of the Hokie Pokey with hankies. This fun-filled show was able to capture the humor of the Brits with a nod to the tribulations of war." Full Review
“The premise of this silly, fun show is somehow Mormon missionaries and ‘The Merm’ meet, with wonderful consequences...The show frolics through parodies of the recognizable classics...But it’s the original songs that tickle and are moving...Throughout the show Burns, Wilkinson and Sakalove mug, dance, and sing up a storm; each one of them have incredible voices and comedic timing that add to the persona of their characters and to the fun of the production.” Full Review
“An insane and rollicking underground club...Just the outlandish costumes alone would make for a hoot of a show, but Montana doesn’t stop there. The real gist of the rollercoaster performances is dancing...Astonishingly athletic choreography, powerful, yet graceful...The dancing is out of control. But one cannot ignore Montana’s flavoring of the production with a number of themes. One, the influence of alcohol and drugs...Two, the FU attitude that nothing is out of our reach.” Full Review
“‘Conquest’ does have some tragic moments but all are superseded by the cosmic comedy and the ribald 'ridiculousness' of the play...Ludlum throws in everything but the kitchen sink...Occasionally the humor fell flat but the cast’s manic energy kept the production alive. And the play did end with tragedy and death but not without a cogent, and funny delivery system that unabashedly embraced pan-sexual ferocity and provided pure distraction from the darkness of our times.” Full Review
"A well-crafted play about loneliness and the evolution (or dissolution) of relationships...Both Michael Jinks playing James and Bebe Sanders as Claire are engaging and so real that it seems as if you have known them for years. Isla van Trich’s dialogue compellingly reinforces the reality and subtlety of the production...With their stellar, relaxed, totally believable performances, Michael Jinks, Bebe Sanders and Andrew McDonald all convince us what is possible." Full Review
"Immediately we know we are in for some fun...The 18 characters are played by only six actors in the cast, a fascinating feat!...Embracing and melding two separate genres like early live television with 1930s gangster films would at first appear to be an effort in 'too much.' However, writer Todd Michael and director Synge Maher pull it off with a madcap flair and an ensemble with the side-splitting talent to nail down their roles." Full Review
"A stark, hilarious, pathetic, outre, and grotesque pastiche...Tyler Everett, exquisitely played by Eamon Yates, shares his story intimately with the audience...Eamon as Tyler flits around the studio, sitting with us, dancing, aware of his beauty, secure in his seductivity, all the while telling a story of contradictions, abasement, and horror...Yates’ performance is amazing and chilling: he humanizes a charming young man dehumanized by the circumstances of his life." Full Review
"What the playwright Michelle Kholos Brooks has successfully done is meld that past horror with the current political climate in America to create a shape-shifting presentation of the 1940s, spray- painted by 2018...Overall, the seeming disconnect to the audience is the use of 2018 dialogue in a story that is over 70 years old. But chillingly, as we hear the story filtered also through current cultural chatter, we can hear and envision the possibility of a country repeating the past." Full Review
"I saw both productions with Foster and Lupone, and I can tell you that neither captured the soul of this show as well as it was done here. The intimacy of the theater changed all perspective for audience, for the company was able to highlight, through its exuberance and simplicity, the sheer talent of each and every performer...One could feel the soul of the music!...It’s worth spending $45 on this show and getting $500 worth of better-than classic Broadway musical." Full Review
"The entire audience wanted to be a pirates after seeing this boisterous production, pulling out all the stops by conjuring up all sorts of pirate lore with a terrific score supporting quite a sweet story...The show’s pace and theme are enhanced by swashbuckling songs with lyrics so incredibly witty, they earned more laughs than the spoken script...More notable was the performance of the cast...Kiefer was perfect as the hairy sailor Backbeard." Full Review
“A heartwarming story…We have in this production a familiar theme. What is delivered, however, is a solid story by Laurel Ollstein, impeccably directed by Valentina Fratti and skillfully acted. Ms. Quaid is sincerely convincing...The rest of the cast provide just the right ensemble performances to bring us back and remind us that even some things haven’t changed much.” Full Review
"We welcome from the stage the bombardment of three Mary Ellen McGuires and calculatingly hysterical ethnic and general humor. There are a whole host of 'Daddy Issues:' circumcision, faygeleh interior designers, a drag queen and that that damned dropped bladder. All of which contribute to an evening of merriment...Certainly a few may find 'Daddy Issues' a bit dated, particularly through the lens of 2016, but for me it was funny and sweet theater.." Full Review