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"Musical cliché...Kerrigan and Lowdermilk set their confused story to a generic musical theater score...Director Stephen Brackett's staging is efficient...After sitting through 100 minutes of muddled plotlines and passionate wailing, it is hard not to see 'The Mad Ones' as a musical tribute to YOLO...If you want to see a great musical, I suggest you hit the road, Jack." Full Review
"The production has a well-developed story, great staging, and a memorable score...People of all ages can relate to this touching and humorous story...The four-person cast of 'The Mad Ones' is a dream team...These Broadway stars master the thoughtful, clever dialogue along with the charm and spirit of the musical score...Rich, contemporary songs with live musical accompaniment that beautifully express the themes in the show." Full Review
"'The Mad Ones' is a nonstarter...It feels like a claustrophobic, overheated road trip. We’re the ones stuck in the car...Too much rewriting has over-narrowed the characters into one-note clichés...Their tuneful songs reward flashy vocalism and are generic enough to flatter many kinds of interpretation. But only sometimes are they truly theatrical...The rest of the 14 songs, stacked like pancakes and nearly as identical, glop together...Plays are not playlists." Full Review
"Kerrigan and Lowdermilk are good at crafting catchy theater pop...Under Stephen Brackett’s fluid direction, the vocally gifted performers deliver the songs with conviction. But Samantha is a cipher, and the show is weighed down by stock characters, familiar metatheatrical devices and multiple clichés. Although 'The Mad Ones' might be enjoyable as an original cast album, on stage it has the same problem as many an angsty teen: It’s not as original as it thinks it is." Full Review
“Kerrigan and Lowdermilk lay bare Sam's dilemma with considerable tenderness and wit...The first half is both intriguing and a little bit frustrating...But the second half suddenly, sharply comes to life...Brackett handles this material with sensitivity, keeping the first half from seeming too precious and zeroing in on the conflicts that drive the action to its conclusion...It takes some time to get going, but, on its own terms, it has some exquisite moments." Full Review
“A well-performed, small-scale, dramatically inert new musical…The fuzzy narrative has very little punch, the effect being more an episodic assortment of emotional reactions to various stimuli than dramatic actions. Too much teeters not only on the brink of over-familiarity but on the banal…Kerrigan and Lowdermilk's score favors songs requiring big, belting voices, which the company very capably provides…Well sung as the songs are there's a sameness to them that blends one with the other.” Full Review
“The drawn-out opening number is a young woman alone on the relatively bare stage singing a lackluster song about driving. It’s not a very promising start...The mostly harsh music is heavy on the strings and has repetitive, thumping motifs. The lyrics are simple and declarative and inspire the cast to at times border on yelling...It’s only fitfully compelling but could strike a chord with those have an affinity with the subject matter.” Full Review
“The unpretentious little musical, has almost no dramatic tension, with a thin plot that serves mostly as a frame for showcasing the songwriting team...The performers deliver on all the charm, energy, and humor they can muster. With the exception of two of the numbers, however, the score itself is mostly unmemorable theater pop...If Kerrigan and Lowdermilk want to ramp things up, they would do well to listen to the kinds of heart-thumping musicals the cast members have on their bios.". Full Review
"Directed by Stephen Brackett, if you’re of a certain age you’ll most likely relate to the woes of youth as presented here in 'The Mad Ones.' Kerrigan and Lowdermilk surely have a way with words and lyrics and there are some genuine laugh out loud moments...The downside: the show attempts too strenuously to get its points across but it doesn’t always work as words crisscross and lines become blurred." Full Review
“A fun and heartfelt musical road trip through a young woman's mind...What carries the show is the relationship between Sam and her best friend...The chemistry is quite effective...Occasionally a sort of ‘concert tone’ takes over, and all this musical flair begins to detract from the story...A fun show with great music and an honest message about being your own person...If you like new musical theatre at all, or even just good music in general, don't miss ‘The Mad Ones.'” Full Review
“Occasionally sluggish with no plot, no narration, little focus, slivers of flashbacks. The songs evolve out of memories. The lyrics are incisive and emotional. The music is contemporary and often repetitive...Many of the songs are belted and these performers are up for it. A fine orchestra in the balcony adds melodic harmonies. With a solid cast, changes in the characters emerge subtly through the show...This show will appeal most to coming-of-age viewers with many ‘if only’ moments to face.” Full Review
“A musical of both youthful exuberance and heartbreak...The cast has the pipes to carry the show beautifully...Most of the songs are very good: catchy and fun or serious and soulful. There is an over reliance on the metaphor of a car as freedom, which grinds after a while...The sparse direction of Brackett is perfect for the space...It is a spare story in a spare space and he allows the actors to fill it with pathos and song." Full Review
See it if You're a fan of great singing in a story that speaks to the place of women today
Don't see it if you don't like plays without an intermission or are looking for a traditional big musical with a chorus and dancing
See it if you like the Dear Evan Hansen/Next to Normal, damaged people singing poppy showtunes type of musical. Singing is good, but not the material
Don't see it if you expect good storytelling, above-average music or decent character development.
See it if you want to discover & become a fan of Kerrigan and Lowdermilk
Don't see it if you hate newfangled pop musicals, want a big orchestra sound, dislike indecisive protagonists
See it if you enjoy shows about teenagers dealing with grief. you are willing to enjoy songs that are repetitive as there is no central narrative
Don't see it if you are expecting a unified story with songs that move narrative forward.
See it if The score is very strong and the performances are terrific. Nicely staged and I loved the use of the harp.
Don't see it if Nice coming-of-age show that's great up until about the last 20 minutes-it should have been cut by about 10. I really enjoyed it though.
See it if You want to see a new musical (or if you've seen this show in another form before, and you're interested in what changes have been made).
Don't see it if You don't like diverse musical influences, or have a hard time relating to young people.
See it if You're a Kerrigan and Lowedermilk fan and like their youtube videos. You can relate to middle class America first world angst/problems.
Don't see it if You want a feel good show and don't like catchy pop tunes.
See it if Another story about an insecure high school girl interests you.
Don't see it if You saw Dear Evan Hansen. The show is similar in tone and topic but not nearly as good. Stay home and look at the YouTube videos of Run Away
See it if you are a die-hard fan of Kerrigan & Lowdermilk's work and want to see their attempt at a musical
Don't see it if you want to see a cohesive, coherent show with something interesting to say
See it if you like to see musicals to hear awesome belting and pretty songs, and don't care about clear and compelling storytelling.
Don't see it if you'd be frustrated by a show that suffers from a lack of focus and doesn't even really seem to know what it's about.
See it if You want to support new musicals, and will be profoundly touched by a story about breaking free of societal expectations.
Don't see it if You don't want a good story derailed by distracting narration, & the choice to make the protagonist be on the verge of tears the whole show
See it if You enjoy coming of age musicals, like any of Kerrigan and Lowdermilk's music, don't mind sad shows
Don't see it if you don't like simplicity, you want more maturity
See it if you want to see a new B'way musical in a tiny theater before it moves on & up. A great way to dip your music-loving toes into off B'way
Don't see it if you want deep insight into the human condition. Despite some deep subject matter (death of a friend) the show leans to fluffy/formulaic
See it if you like a powerful score with a strong cast of talented actors, about a girl on the brink of deciding what her adult life should look like
Don't see it if you don't like sad moments, or want a huge cast with lots of dancing and choreography.
See it if you enjoy Sondheim style musicals with a quartet of powerfull voices and an excellent (if predictable) book.; unique orchestration.
Don't see it if you want a musical with rhyming songs, lots of dancing and ornate costumes, big orchestra and fancy staging. This is not that at all.
See it if You like female focussed stories or coming of age stories. Seeing positive, strong female friendships.
Don't see it if You want showy production numbers or a big flashy set.
See it if can a high school valedictorian follow the advice of her free spirited best friend to do something unexpected after graduation?
Don't see it if contemporary/pop songs show off these crisp, belting voices; love the strong female representation on stage in this small cast
See it if you like belting! And you like female-focused coming-of-age stories, modern musical theater, and refreshingly not TOO much Kerouac.
Don't see it if the part of Company where they say "Add 'em up, Bobby!" makes you groan, because this is a whole musical of that. Not for traditionalists.
See it if you love a modern pop theater scores; you enjoy a simple coming of age story; you like indie films
Don't see it if you expect elaborate staging or a complex plot.
Also Beautiful singing and acting, heavy handed plot