"Umoh delivers a confident and compassionate performance in that star-making role...'Hallelujah Baby!' is a bit of a curiosity in the history of Broadway musicals...An ambitious, but somewhat didactic attempt to create something that expands the boundaries of the art form to address contemporary issues...There are certainly better musicals about the black civil rights struggle in America, but it's still a valuable experience to attend imperfect shows."
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"Time has not been kind to 'Hallelujah, Baby!'...None of this is a reflection on the performances at the York...But the minimalism requires us to focus on the material itself...Styne and Comden & Green have produced enough high-quality numbers that make the visit to the York well worthwhile to their legions of fans. But there is no getting around the timid approach to the subject matter. It was bad enough in the 1960s, but now it all just seems terribly condescending."
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“While it is interesting to see Arthur Laurents' second thoughts on ‘Hallelujah, Baby!,’ his next to last original Broadway musical, the revised version is still something of a disappointment. It remains an ambitious failure with memorable moments.”
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"When the York’s Producing Artistic Director James Morgan came on stage to introduce the show, he explained that the cast had only seen the material on Monday morning, six days before and only a splendid cast and great producing team could have accomplished this amazing feat in such a short time. Kudos to all at the York for this outstanding series that gives audiences the opportunity to see and hear both overlooked and celebrated musicals of the past."
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"This show exudes Broadway...This upbeat musical tackles the sober topic of racism in America...With beauty, elegance, and a versatile, big stage voice, Umoh is razzmatazz in leading lady form...Some of the material feels a bit dated and the balance of book to music feels a bit off...Could use some judicious trimming. In addition, Georgina carries the majority of the show, in a veritable marathon of singing that risks wearing us out. Nonetheless, 'Hallelujah, Baby!' is a terrific show."
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"Both problematic as well as a fascinating commentary on the complicated race relations that still plague our country...Umoh does an admirable job...The men fare less successful, if only for lack of chemistry with their leading lady...With another overhaul of Laurents' book, perhaps 'Hallelujah, Baby!' might find its footing. Until then, there are gems in the score...as well as the reminder that as far as we've advanced in racial equality, the journey is far from over."
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"There are various reasons to see the York Theatre Company’s concert-style revival...A major one is the smashing performance by Stephanie Umoh...Seeing her reconfirms my enthusiasm for her artistry...The show itself has an excellent score...It is a work that definitely merits a fresh look...The book, although sometimes a bit clunky, cleverly spans decades...The overall direction is by Gerry McIntyre, who deserves credit for whipping the musical into shape with about a week’s rehearsal."
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"Umoh has a powerful, clear voice...Convincingly frustrated, selfish and aggressive...Seems to add pith to the show...Sessions' Harvey is believable from the get-go...Brings authenticity to every speech, glance, and song...Fine vocal style and is thoroughly appealing...Director McIntyre is adept with both vivacity and gravitas. Choreography is appropriate and fun; emotional moments theatrically credible."
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