"The show is as baffling as it sounds, but worse, it’s bland and unfunny...The 20-odd musical numbers, though derivative, are catchy and deserve a better book than the one that Lazarus has crafted around them. The performers are blessed with powerful pipes, and they bite into the inanity with whole-hound commitment, matched by Don Stephenson’s frenetic staging. But no matter how hard they try to deliver it, the material all but screams 'return to sender.'"
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"The plot is incoherent, the songs are unamusing, and despite the best efforts of the director, Don Stephenson, the action lurches from one mystifying development to the next. The show's meager list of strengths includes Eric Sciotto, as Drac, who attacks his terrible material with a certain verve, and Laura Woyasz, as Prissy, who sings sufficiently appealingly that it would be nice to hear her under different circumstances. Otherwise, bring on the Anti-Christ."
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"Embrace the outrageous and watch Elvismania unravel...Free-wheeling and wacky with a nugget of positivism...The score overall is funny and energetic, performed by talented singers, dancers, actors...Sciotto is unbeatable playing bilateral Drac...The plot is choppy with drop-in, drop-out characters. The pace, particularly in the second act, is uneven...A nutty couple of hours of music, love, some good intentions and plenty of laughs."
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"Not as funny as it’s intended due to its overloaded book and shaky tone...Lazarus’ score is an entertaining blend of rock, pop and show tunes...His good-natured book is a shambles. The serious, campy and satirical elements don’t connect. The plot is crammed and wayward...It’s all strained, labored and simply not very funny due to the ponderous dialogue and choppy structure. Still, the energetic cast puts as much effort into their performances as if they were in a smash Broadway show."
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"The good news here is that 'Attack of the Elvis Impersonators' features an excellent cast...The bad news is that this is the end of the good news...The level of storytelling only achieves that of a college spoof. The kind where everyone is laughing, including the performers, because they are having fun presenting this preposterous story...Not crap. But it is not an engaging show either. As hard as these performers work, the material never gels."
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"The comedic factor rarely rises to the occasion. Most of the jokes fall flat and elicit reactions ranging between audible groans to internal eye rolls. Lyrically, there are no gems to be found in the songs, either...Regarding production value and talent, there is much to admire...I must admit that a handful of the songs are quite catchy thanks to the musical direction, arrangement, and orchestrations...Long before intermission, this hound dog reviewer was ready to be euthanized."
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“A goofy all-singing, all-dancing, all-mugging exercise in musical banality...Which isn't to deny that enough Elvis idolaters seeking anything associated with the eponymous late entertainer may find its subject matter rollicking enough to keep it rocking…It strains to be funny with sight gags and comical verses but its biggest laughs actually have little to do with Elvis, coming late in the evening when it joins the anti-Trump bandwagon with the president likened…to the Anti-Christ.”
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"From the moment this problematic show starts, you can tell the producers have big pockets. The set is fabulous and the abundant costumes are extremely well done...The score is 'Mister Rogers' tuneful and the lyrics abominable...Don Stephenson directs this mess and Zaremba has over-choreographed this postage stamp of a stage. The show handed out these horrifying masks and wanted us to howl. The only thing I howled for was joy to be released from this over-two-hour twister."
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