Category: theater reviews

Tuesday evening marked the opening of “Les Miserables” at Wharton Center, nearly seven years after its last tour stop in East Lansing. The show runs through Sunday, November 17. Click here for show and ticket information.

I’ve seen Les Mis a handful of times in the past, both in local theatre and national touring productions. It’s a show that has endured, rightfully so, as a Broadway classic and fan favorite since the 80s. Each time I see the show live, or listen to the soundtrack, I notice new things about it. Sometimes I can’t tell if they are elements that have always been there, or artistic choices by the performers and director. But either way, it makes for a unique theatre experience each and every time.

Here are three takeaways from last night’s performance of Les Miserables at Wharton Center.

Today marks the 18th anniversary of the attacks on 9/11. As we’ve done each year since 2001, we spend this time reflecting on where we were, remembering those whose lives were lost, and honoring the heroes. Some of the stories are full of heartbreak and sorrow. Some of the stories shed light on our unity and humanity.

In recognizing the heroes of 9/11, it feels especially poignant this particular week aligns with the arrival of the “Come From Away” national tour at the Wharton Center. “Come From Away” tells the true story of the 7,000 airplane passengers who were stranded on 9/11 in Gander, a small town in Newfoundland, and the residents who helped feed, clothe, and house them for five days. Real-life testimonies from the passengers and Gander residents give an intimate look at the confusion, chaos, and Canadian camaraderie in the days that followed 9/11.

With book, music, and lyrics by Irene Sankoff and David Hein and Tony Award-winning direction by Christopher Ashley, “Come From Away” is an emotional and heartwarming kickoff to the Wharton Center’s 2019-20 season. It runs through September 15, 2019.

March 3, 2017. That’s the day that mid-Michigan audiences gasped with excitement over the biggest theatrical announcement in years. “Hamilton” would be coming to the Wharton Center as part of the 2018-19 season. I can’t tell you how many people I know who purchased 2017-18 season packages that year just to guarantee their shot at “Hamilton” tickets.

Spring 2019 felt like it would take forever to get here, but when it comes to something as big as “Hamilton,” mid-Michigan audiences were willing to wait for it. And now, it’s here.

“Hamilton” is wowing Wharton Center audiences through June 2, 2019. For those who didn’t purchase tickets ahead of time, a handful of tickets are being released daily on the Wharton Center website. And, of course, there’s the famous “Hamilton” lottery, which awards 40 tickets for each performance at $10 a pop, maximum of two tickets per winner. The lottery is held through the “Hamilton” app.

Wednesday night’s performance was my second time seeing”Hamilton” on stage, which in itself feels like an embarrassment of riches for one person to experience. This second viewing, nearly three years after the first, created a rare and special opportunity to relive the magic. There were nuances I hadn’t caught the first time around, or even on the 100th listen of the soundtrack.

Theodore Roosevelt said that “comparison is the thief of joy,” but the chance to examine all of the layers uncovered between my two “Hamilton” experiences made for a beautiful encore.

There are few Broadway musicals with scenes that are a part of
“how did they do that” theatre lore — iconic moments that live beyond the stage and become a signature image or set piece. In “The Phantom of the Opera,” it’s the chandelier. In “Wicked,” it’s Elphaba defying gravity. And in “Miss Saigon,” it’s the helicopter.

As someone who loves musicals and has seen her fair share of them, I had never seen “Miss Saigon” before the tour’s opening night at the Wharton Center Tuesday. I only knew it was based on “Madame Butterfly,” my grandma loved its music, and it featured a helicopter descending upon the stage. I reveled in the opportunity to finally see it and hear the songs that —while unknown to me before — seemed altogether familiar when I saw the show.

“Miss Saigon,” though deeply sad and heavy, soars with its incredibly talented cast and dreamy orchestrations. The darkness of its subject matter and even its set design is brightened by the actors’ strong, clear voices and brief sprinkles of humor. The national tour of the 30-year-old musical by Claude-Michel Schönberg and Alain Boublil, the team behind “Les Miserables,” will play at the Wharton Center through Sunday, March 17th.

As a child of the 90s, the animated offerings bestowed upon my generation were an embarrassment of riches. Seeing these films in the theater and watching them hundreds of times on VHS left many imprints on my childhood memories. Just a couple of decades later, our appetite for all things comforting and nostalgic has been whetted by remakes and revivals on both stage and screen.

In that way, it’s no surprise that the opening night of “Anastasia” at Wharton Center felt like a dreamy journey to the past. “Anastasia” will play to audiences at Wharton Center through January 20, 2019.

I still remember seeing the 1997 animated film as a 12-year-old girl in a theater in Atlanta, where we were visiting family over Thanksgiving break. I remember singing the songs with friends at sleepovers. I introduced the movie to my oldest daughter, who was also my date opening night.

Experiencing the story and music of “Anastasia” in a new and exciting way took time, but it was worth the wait.

Talk about a perfect match.

Amid a month of holiday festivities, on the third night of Hanukkah, the Wharton Center welcomed the touring production of the 1964 Broadway classic, “Fiddler on the Roof.” The timing and setting could not be more appropriate for this celebration of a show, playing now through December 9th.

In the stripped down but exquisitely rich production from Tony Award-winning director Bartlett Sher and the team behind “South Pacific“ and “The King and I,” audiences will enjoy the timeless themes of family, love, and traditions. Not to mention, the infectious score and memorable songs. On opening night, the audience couldn’t help but clap along with the orchestra at the beginning of Act II.

Continue reading “Review: “Fiddler on the Roof” is a timeless celebration”

Sequels are impossibly hard, particularly when the original is exceptional. Expectations are high, comparisons are inevitable. Pair that precedent with the task of following up the longest-running show in Broadway history and one of the most beloved musicals of the last 30 years, and it can seem insurmountable. Yet if anyone is poised to attempt it, Andrew Lloyd Webber is one such maestro.

“Love Never Dies,” the sequel to the iconic “The Phantom of the Opera,” brings back those familiar characters, melodies, and passionate tensions in a splashy fashion. Sure, Webber has a flair for the dramatic. But as the mastermind behind “Jesus Christ Superstar,” “Cats,” “Evita,” and recent Wharton Center season opener “School of Rock,” it’s tough to fault him for wanting to tell more of this seminal story. 

Appearing at the Wharton Center through October 14, 2018, “Love Never Dies” gives another long-awaited taste to Phantom fans who can’t get enough of the theatrics. And for those who haven’t seen “The Phantom of the Opera,” the impeccable vocals, dazzling set design, and vibrant costumes are certain to lure them in.

Continue reading “Review: Performances soar, designs dazzle in “Love Never Dies””

It’s September and school is back in session. That means a brand new Broadway season at the Wharton Center, which kicked things off with a (head)bang with the arrival of “School of Rock.” The production’s East Lansing tour stop runs now through September 23, 2018.

Get your rock fingers ready and put on your best concert tee, because “School of Rock” will be one of the most fun Broadway shows you’ll experience. Yes, there are some ballads and vocal acrobatics that are a part of most musicals, but make no mistake about it: this show is also a rock concert, complete with guitar picks flying into the audience, smoke machines, and shredding solos.

Based on the 2003 film starring Jack Black, “School of Rock” features music from Andrew Lloyd Webber, lyrics by Glenn Slater, and a book by Julian Fellowes. The story centers on Dewey Finn, a jobless, shlubby guitarist who gets kicked out of his band before assuming the identity of his roommate in order to become a substitute teacher at the prestigious prep school Horace Green. Dewey has no interest in teaching the privileged fifth graders in his classroom until he realizes their musical talents; he secretly forms a band with his students in order to compete in a Battle of the Bands contest. Continue reading “Review: “School of Rock” is a rocking good time”