“Part of what makes ‘Rosewater’ so appealing, other than the terrific songs, is the yearning humanity that Ashman’s book brings out in the people of Rosewater’s eponymous hometown...The production is blessed with a near-perfect cast...The show is far from perfect. I’ve been rereading the script and still can’t quite figure out the logic of the show’s denouement. And some of the satire falls a bit flat. But on the whole, it’s a delight.”
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"It’s a fascinating show that functions and malfunctions on several levels. Musicalizing Vonnegut is difficult. However, given the current political climate and general disdain for one-percenters, it is a perfect show to revive…The production succeeds in the casting of the leads…Where they flail are the songs with patriotic melodies, despite Ashman's satirical lyrics. The atonality runs thin quickly even with an amazingly game ensemble."
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"This one is really off-center. And we are delighted to have made its acquaintance, but suspect we won’t need to see it again…What a weirdly sweet and strange, dark mess this is...Santino Fontana is wonderful — vocally and dramatically — as Eliot Rosewater…We learn that people need two things — to be fed and to be respected, and that respect should be given to people who don’t deserve it. That’s silly, but a little profound."
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"Narrative displays several signature Vonnegut themes, the familiar device of God-like narration (James Earl Jones), and characters found in other books by the author...Howard Ashman’s book and lyrics are literate, specific, and filled with heart. Alan Menken’s music is, well, fine. This was their first collaboration...Fontana’s embodiment of Eliot is consistently engaging and sympathetic. Really, one wants to take him home to mom...Another terrific production by Encores."
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