"A small, uneasily assembled production...The subject of 'Kid Victory' feels especially unpromising for any musical that doesn’t aspire to grim, grand (guignol) opera or creepy camp. And this definitely has other aspirations, toward a laudable but elusive psychology delicacy...Mr. Kander mines a number of musical veins, including the jaunty jazz and vaudeville pastiches for which he is best known, with results that are scattered, a bit bewilderingly, among the characters." Full Review
"This new musical employs Kander's instantly recognizable Broadway sound to tell a story that is contemporary, relevant, and brave. The result is the most exciting new musical of the season...Through his consistently lovely music, Kander conveys the discord between what should be and what is...Director Tommy smartly augments the emotional whiplash of the score with her clear and efficient staging...Flynn leads the cast with an unforgettably angst-ridden performance." Full Review
"As orchestrated by Starobin, much of his music offers a chamber quality that enhances the skin-crawling tone of director Tommy's sensitive and extremely well-acted production...Pierce shows himself to be a capable storyteller in his book and lyrics, but the musical suffers from being more about people's reactions to Luke rather than revealing more of Luke himself. Still, it's a daring subject choice for musicalization and there's enough good work to fascinate, if not completely satisfy." Full Review
"The show manages to navigate its subject’s minefield of potential mortification. Much credit for that belongs to Brandon Flynn, the sensitive but never maudlin young actor...Kudos also go to librettist Greg Pierce and composer John Kander, who nimbly thread a narrow needle...The songs often seem truncated or extraneous. If 'Kid Victory' doesn’t embarrass itself a musical, neither does it offer, in the end, compelling reasons for being one." Full Review
"A disjointed, tedious effort, which is hardly enhanced by Kander’s atypically underwhelming score...The storyline generally feels confusing, overly cluttered with incidents and minor characters that don’t add much to the overall impact...Under Liesl Tommy's direction, the acting is fine...But the performers’ efforts are undercut by a show that strains for emotional profundity and instead seems merely exploitative." Full Review
"Little about the show’s psychology feels likely or lived in, which makes it difficult to access the work emotionally, despite some simple, lovely melodies from Kander and their mournful, reed-heavy orchestrations...The director, Liesl Tommy, and the scenic designer, Clint Ramos, make one terrific choice, setting the whole of the show in Michael’s basement, suggesting that Luke’s escape is incomplete. But Tommy encourages most of the actors to exaggerate their assigned traits." Full Review
"Greg Pierce and John Kander have done a very daring thing, building a musical around a character who can't express himself in song...Under Liesl Tommy's sure-handed direction, aided by Christopher Windom's choreography, the action moves across time and in and out of Luke's mind with the fluidity of a dream; she has also pulled together a first-rate cast of newcomers and old Broadway hands...Unusual and extraordinarily powerful musical." Full Review
"'To the west of pain is a paradise.' It is an intriguing, provocative suggestion that may make theatergoers squirm, but it also invests the musical with an unusual compassion and psychological insight. 'Kid Victory' is aided by a universally impressive nine-member cast that director Liesl Tommy has assembled...Kander employs his arsenal of blues and hymns, ballads and dirges to tell a story that might work without any music, but stays with you all the more because of it." Full Review
"The cast is superb. They are a perfect ensemble and carry out the task of handling this meandering material brilliantly. As the breadcrumb trail wanders, there are some seriously odd musical numbers...One gets the feeling that the ingredients of this tale were pulled off the shelf and used to fill the pot on the stove, rather than satisfy a palette. Too much blather and not enough specificity." Full Review
"The work of 89-year-old John Kander...and Greg Pierce....dives into the dark waters of a teenager's sexual enslavement; the results, though, may not be as deep as the subject warrants...Despite its imaginative staging...the piece never fully coheres. It veers from being predominantly musical, with the dialogue in recitative mode, to long passages, especially one toward the end, without any music at all." Full Review
"Kander and Pierce don't present a convincing case as to why this material needs to sing at all...It also doesn't help that Luke doesn't sing; this may successfully alienate him from those around him, but limits how far we're able to dig into who he is...Tommy's production is slick, fluidly staged as a swift-running stream of consciousness...Being not boring and being transformative are two very different things, however, and 'Kid Victory' does not come close to the latter." Full Review
"The cast is first-rate...Brandon Flynn is a star and we totally follow him as he breaks our hearts with his disconnect...Kander’s score is hauntingly beautiful. The lyrics and the emotionality of this score capture this journey and it is like dropping down a rabbit hole. There are pieces of Mr. Pierce’s and Mr. Kander’s story that needed more...This show is not for everybody, but it is well done, speaks to issues that society would like to bury underneath a rug and does so with respect." Full Review
"It’s a mess, and the disturbing subject is the least of the problems in this show...Kander’s music is beautiful and this amazing composer has been liberated, whether by change of partner or his own intellectual progression, into a more Sondheimian palette of tone and melody...Nothing else about 'Kid Victory' makes sense, unless one buys into the unsavory suggestion that sometimes Stockholm Syndrome is just another marker on the road to adulthood." Full Review
"If that doesn’t sound like a story that naturally sings — and themes of religion and sexuality only add to that — the creators haven’t provided a persuasive case that it does. Despite a talented, hard-working cast, songs far too often stop the show dead in its tracks. 'Kid Victory' is a drama taken captive by pretty toe-tappers and romantic ballads that clash with the narrative." Full Review
"Nothing of the plot screams, write a song about this. And maybe that’s why it packs the punch that it does. It is by no means perfect, and there are difficulties of flow throughout, but it certainly is a captivating story...Skillfully directed by Liesl Tommy...Many of the other numbers vary in their successful integration with the story but all sound magnificent in structure and performance." Full Review
"While still short of the Kander and Ebb magic, 'Kid Victory' is an intriguing, psychologically complex story that's effectively staged by Liesl Tommy and well performed by the 9-member cast...Even though the flow from narrative dialogue into song and back again isn't always as organic as it should be, there are some lovely songs that I'd like to hear again...If I were putting together a must-see list of new musicals, it wouldn't place near the top, but I'm glad I saw it." Full Review
"The well-crafted choreography and the intriguing book, lyrics, and music counterpoint the heinous histories of Luke’s experiences in his home and his 'home away from home' on his captor’s island...The cast is uneven vocally but succeed overall in delivering their musical numbers...Liesl Tommy’s intricate and compassionate direction put Mr. Flynn’s Luke at the center of this story and assure that his cast works as hard as he does to make 'Kid Victory' the important piece of theatre it is." Full Review
"Following Kander and Pierce's first collaboration, the three part 'The Landing,' also seen in NYC at the Vineyard, their new show, 'Kid Victory,' is for minority tastes but will keep you riveted to your seat if you have the stomach for the strong content." Full Review
"To my surprise, I liked Greg Pierce’s book far more than John Kander’s music. In general, I did not think the music either heightened emotions or advanced the plot...The cast is uniformly strong and the story is consistently interesting. Liesl Tommy’s direction is mostly assured, but occasionally leaves characters doing nothing for long periods. I admire Kander and Pierce for taking on such a difficult subject, but am not sure that musicalizing it was the best approach." Full Review
"Kander, Pierce, and director Liesl Tommy are superb when they keep things simple...Kander is famous for giving his musicals a showbiz structure, but the razzle-dazzle here jars...Luke never sings in 'Kid Victory.' Are Pierce and Kander saying that his problems are beyond the limits of music? Or are they not up to the task? Less can be more, but with a subject this painfully big, you have to deliver more." Full Review
"A small, dark, tight chamber musical with thoughtful lyrics by Greg Pierce...It’s the religious community/Greek chorus, alas, that the creators and director Liesl Tommy encourage to surround Luke with oblivion, ignorance and zealous stereotypes...This isn’t a big commercial musical, but it takes on a radioactive subject without exploitation and finds some human music in it." Full Review
"A pleasing, wide-ranging musical score by the legendary John Kander and less satisfactory book and lyrics by Greg Pierce...Flynn makes Luke’s circumstance enormously affecting, but 'Kid Victory' doesn’t work very well as a musical...Numbers often seem tangential to the mood of the evening...Despite that, 'Kid Victory' offers a vivid portrait of a tortured soul." Full Review
"The story thinks it’s more mysterious than it is...But director Lisel Tommy is uncharacteristically on the nose...The musical also treats Michael, the captor, with a strange kind of empathy that feels icky. 'Kid Victory' is worth seeing for some tender moments with Flynn and his father, played by Daniel Jenkins...I’m left wondering why a musical, with precision blocking, tap dancing, and all the obviousness that comes with the genre, makes sense for this story." Full Review
“It isn't clear why the collaborators have decided to tell this tale or what they want it to say...The music is similarly ambiguous, failing to settle on a sound that captures the emotional experience of this show…Some of the new melodies are lovely...And Pierce's lyrics are fine, some of them quite clever. But none of it really commands the ear or lingers there…Still, the acting is strong and it's particularly nice to see such stage vets as Ziemba and Denman get a chance to shine once again.” Full Review
"This is a complicated story with a superior cast of actors. Brandon Flynn plays the tortured Lucas – his every emotion vividly alive and readable...The wonderfully talented Liesl Tommy directs this cast as if slowly and purposely pouring out a fine bottle of wine to be savored. There’s much more to say, but to reveal it would be to diminish an entire emotional journey you should not miss. Make sure you get a ticket to see 'Kid Victory.'" Full Review
See it if I think it might be gone now. This ambitious, not altogether successful musical, was worth seeing for an intriguing score and Karen Ziemba!
Don't see it if Hopefully the creators will put in more work on this serious show with great potential. I hope there will be a recording. The score was ++++
See it if You want a non-traditional musical about darker themes that isn't afraid to look at the topic in a different light.
Don't see it if You're averse to the topic of abuse and looking at it from different angles. Or you're expecting a musical with full songs (most are 1 min).
See it if you like the musicals of John Kander, can accept a dark story with both downbeat and upbeat music, are not put off by troubling scenes.
Don't see it if you want a happy tale where problems are resolved for all, are sensitive to dangers teens face on the Internet, don't like John Kander music
See it if You are a fan of Kander, like dark themes, LGBT issues, abduction stories.
Don't see it if You aren't a fan of gay/abduction stories or John Kander. Music feels disjointed from script. Great acting/singing but didn't flow properly.
See it if Kander & Pierce's brave attempt to musicalize sexual predator story engrosses despite weak score & book Actors work hard to flesh out roles
Don't see it if Despite chamber quality, more complexity needed to sustain story but Tommy's staging grounds work & Flynn and Denham are exceptionally good
See it if You are in the mood for a short Kander and Pierce musical of a coming of age story with a dark twist.
Don't see it if You are bothered by an empty nest story where the fledgling doesn't fly in th direction you imagined.
See it if You like incredibly well-written music and very strong performances, and won't mind if the piece still feels slightly unfinished.
Don't see it if You have difficulty with themes of abduction, coercion/rape, or suicide. You like your musicals uplifting and peppy.
See it if you're a fan of John Kander or Karen Ziemba and game for experimental theatre—the alchemy of disturbing-tale-as-musical is unsettling.
Don't see it if you're looking for upbeat story or traditional musical format of interwoven songs (none listed in program) or are averse to disturbing plot.
See it if You are a fan of the horror genre. You enjoy shows in which the hero is shown in horrific circumstances. Stockholm Syndrome is of interest
Don't see it if Characters in frightening, dangerous or circumstances not of their choosing will upset you. You are looking for a traditional happy ending.
See it if you have trouble falling asleep. This is an effective sleeping pill.
Don't see it if you like coherent, logical, touching stories about families and young people. This one is off the charts.
See it if you like quirky small-scale musicals. The young lead is excellent and the show is quite absorbing and disturbing. Kandor's music is lovely.
Don't see it if you are looking for a really outstanding show. The lyrics are often banal lists of nouns. The use of the chorus is distracting. Doesn't work
See it if you're a fan of John Kander's and have to see all of his works.
Don't see it if you're turned off by abduction stories or music that is disconnected from the book (I thought I was watching two different shows).
See it if you like pensive, nontraditional musicals that dive deep into the psyche of one character
Don't see it if you want well-rounded, non-stereotypical secondary characters or need shows to have momentum and plot to be entertained
See it if You like Kander's melodic music, superb singing, and a complex group of characters.
Don't see it if You don't like dark themes with some unlikable characters. You can't deal with brutality.
See it if You are ready for a dark musical about a serious topic that appears on L&O SVU, but often happens in the gay-cyber-underground.
Don't see it if You dislike homosexuality; Are very religious; Get offended by Midwest parodies; Expect a big musical w/choreography.
See it if You want to cry, but don't necessarily love the show. It's not fully realized, but has a lot to say. You'll be surprised.
Don't see it if You want to come out singing fun show tunes, or want a fully realized show. It still needs work, but it gutted me at the same time.
See it if you like musical theatre that will challenge you and leave you emotionally conflicted. This show is edgy, dark, and ultimately satisfying.
Don't see it if you dislike shows where the "bad guy" is portrayed with empathy, you don't like controversial subject matter, you don't like dark musicals.
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