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REVIEW: Hairspray is a Timely Reminder that Tolerance Never Goes Out of Style! #Hairspray @attpac

Hairspray is a satisfying confection

While waiting for the doors to open at the Winspear Opera House on Hairspray’s opening night in Dallas, Lyft offered theater goers complimentary Pop Rock macarons. Much to my delight, these hot pink confections were surprisingly satisfying rather than sickeningly sweet.

Those pastries made the perfect pairing for Hairspray, because from the moment the curtain rose until the last curtain call, this musical blends fast-paced fun with a cast of quirky characters who, much like a hot pink Pop Rock macaron, create a surprisingly satisfying experience.

Michelle Dowdy as Tracy Turnblad in Hairspray - photo (c) Paxton Maroney — Michelle Dowdy as Tracy Turnblad in Hairspray – photo (c) Paxton Maroney

What’s Hairspray about?

Hairspray takes place in Baltimore, Maryland in the year 1962. The story centers on Tracy Turnblad, a plus-sized high school girl who is bullied by the popular kids.

Tracy finds solace in a teen dance program called the Corny Collins show. Every day after school, she races home to watch it on TV. As Tracy relentlessly pursues her passion to be a dancer on the show, her naive dreams collide with the conflicts of the times and she ends up fighting for racial integration along the way.

Unabashedly bold and cheery, Michelle Dowdy (who has played the character on Broadway) is perfectly cast as Tracy Turnblad. You can’t help but smile as Dowdy convincingly exudes Tracy’s boundless optimism.

Reminder that we’re ALL quirky

Tracy’s mother, Edna, is a key figure in the story, as well. Since Divine originated the role of Edna Turnblad in the 1988 movie version, it’s been traditional for a man to portray Tracy’s mom. Aside from wearing a fat suit and a dress, David Coffee doesn’t try to feminize Edna. While that definitely creates many comedic moments, it’s also part of what makes the character feel genuine.

Tracy’s mom is an agoraphobic laundress and her father, Wilbur, runs a joke shop called the Har de Har Hut. Wilbur Turnblad is capably portrayed by Bob Reed, and the chemistry between him and Edna is sweet and funny.

The Turnblads are a quirky family, but aren’t all families a bit quirky when you examine them closely? By magnifying their eccentricities to a nearly cartoonish degree, Hairspray playfully reminds us that we’re all a bit wacky when you get right down to it.

And despite their odd facade, the Turnblads are a loving family. So although Tracy’s adventures force her to make some tough moral choices, she is able to choose the right path. Why? Because her parents haven’t simply told her to be a good person, they have shown her how to be a good person.

Timely even though set in 1962

There are so many messages in Hairspray about family, equality, love, and acceptance. In a time when hate speech and bigotry have made such a resurgence, I truly felt like this upbeat show was a tonic for my soul. Bottomline: Bouffants may come & go, but Hairspray reminds us that tolerance never goes out of style!

All that aside, Hairspray is jam-packed with great tunes and choreography. Since the story takes place in 1962, the songs reflect early 1960’s dance music, rhythm and blues, and gospel. The entire cast is great, and there were so many times during the show that I just wanted hop out of my seat and join the dancers. (And I know I wasn’t the only one, because at times, our whole row was moving due to audience members bopping along in their seats!)

Grab your tickets now!

I could go on, but this is a short run show and I want to get a review posted fast. The bottom line is that if you’re looking for something to lift your spirits, grab your tickets to Hairspray – pronto! (Use the promo code BALTIMORE for discounted tickets!)

See Hairspray in Dallas:

Where: AT&T Performing Arts Center/Winspear Opera House, 2403 Flora Street, Dallas, TX 75201
Tickets: Check availability and book online at the AT&T Performing Art Center official website.
Runtime: Runs for 2 1/2 hrs, with a 15-minute intermission.

PLEASE NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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REVIEW: Bright Star Offers Twangy, Toe-Tapping Fun #BrightStar @attpac

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Bright Star is a bluegrass musical that first opened on Broadway in 2016 as the result of a creative partnership between renowned comic, writer and banjo player, Steve Martin, and the talented songstress, Edie Brickell.

Although set in the hills of North Carolina, it’s worth nothing that this creative duo has roots in the Lone Star State: Edie Brickell grew up in Dallas and Steve Martin hails from Waco.

Edie Brickell and Steve Martin (c) Joan Marcus

The storyline for Bright Star was inspired by the “Iron Mountain Baby” of 1902, but beyond the inciting incident, it’s pure fiction. I decided not to read anything about the show before seeing it, and I’m glad. The surprise elements and plot twists were fun to experience, so I won’t divulge any spoilers here.

The first act, for instance, ends with a shocking event. Seriously, there were a few gasps in the audience when it occurred, and during intermission, I overheard a woman say, “This plot is freaking me out. Please tell me the show ends well!”

That said, after you see the show, here’s a great article to read by Caleb Pirtle that includes a 1902 newspaper clipping of the strange-but-true news item that inspired the story for Bright Star. Also, here’s a YouTube clip of Steve Martin and Edie Brickell performing a song inspired by the event called “Iron Mountain Baby”.

Bright Star catches flak in some circles for its happy ending and melodramatic bent. In interviews (such as this one) Steve Martin and Edie Brickell have stated that they wanted to create something sincere and without cynicism, so keep this in mind when you head to the theater.

Cast of "Bright Star" (c) Joan Marcus — Cast of “Bright Star” (c) Joan Marcus

The plot for Bright Star revolves around the connections between Billy Cane (Henry Gottfried), a budding small-town writer, and Alice Murphy (Audrey Cardwell), a jaded big-city magazine editor. As an author, I’m a sucker for any plots involving writers, so I was immediately hooked.

As Alice Murphy, Cardwell seamlessly transitions back and forth from spunky teen to a world-weary 30-something. Her chemistry with Jimmy Ray Dobbs (Patrick Cummings) was a delight, as was the sweet frisson between Billy Cane and Margo Crawford (Liana Hunt.)

Flirty moments were balanced with one-liners traded between secondary characters Jeff Blumenkrantz and Kaitlyn Davidson, who played the snarky office staff at Alice Murphy’s literary magazine.

The storyline for Bright Star hops between two time periods: the early 1920’s and the post-war 1940’s. This gives Martin and Brickell ample room to inject the folksy score with Jazz Era flair and hints of Big Band rhythm. I really enjoyed the music and found myself tapping my toes throughout the production. Many of Martin and Brickell’s songs offer haunting harmonies and beautiful syncopation and are worth listening to on their own.

Since Steve Martin wrote the Bright Star book, the witty dialogue and humorous observations sprinkled throughout the show came as no surprise. Also as expected, Edie Brickell’s lyrics were earnest and poetic.

Eugene Lee’s scenic design was sparse yet clever. It offered just enough staging for my mind to fill in the gaps. The choreography by Josh Rhodes had a very natural feel, rather than simply being a series of dance numbers. That said, I especially loved the boozy physical humor in “Another Round.”

Bright Star is well cast, with strong performers across the board. The opening night performance in Dallas brought the audience to its feet for a well-deserved standing ovation at the AT&T Performing Arts Center Margot and Bill Winspear Opera House. The show plays here through June 24th, so grab your tickets before it’s too late!

Follow #BrightStar on social media:

Official website: Bright Star

Twitter profile: @BrightStarBway

Hashtag for social media: #BrightStar

AT&T Performing Arts Center on Twitter & Instagram: @ATTPAC

See Bright Star in Dallas:

PLEASE NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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REVIEW: “Uncanny Valley” Asks Hard Questions about AI @BlackFlagTX #scifi #Visitplano

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Thought provoking play by Thomas Gibbons

What does it really mean to be sentient? If we create a convincing facsimile of a person and use Artificial Intelligence (AI) to reproduce a personality, does the end result truly replace the original person? Or is it a modern-day chimera?

In any case, exactly what sort of legal rights would, or should, such an entity have? How should existing biological family members treat this new being?

Questions such as these (and many more) have kept my husband, Larry, and I chatting for days after seeing Black Flag Theatre Company’s production of “Uncanny Valley,” a thought-provoking play by Thomas Gibbons.

Graphic provided courtesy of Black Flag Theatre Co

What is the Uncanny Valley?

In case you’re unfamiliar with the term,“Uncanny Valley” refers to the discomfort people feel upon seeing an effigy that looks nearly human. Although the phrase was coined by roboticist Masahiro Mori in 1970, it’s not a new phenomena. For instance, the Uncanny Valley is why some people think realistic looking dolls are creepy. (For more the on the Uncanny Valley, click here.)

Despite our discomfort with the Uncanny Valley, humans have long been intrigued by humanlike creations; consider Pinocchio or Commander Data from Star Trek.

At exactly what point, however, does a machine cease to be merely a machine and attain true sentience? With the acceleration in robotics and AI, this is an increasingly important question for us to answer.

Uncanny Valley by Thomas Gibbons

Aside from the title of the play, a major clue for theater goers regarding the plot to “Uncanny Valley” came from a series of magazine covers displayed in the entryway to Plano’s Cox Theatre. Convincing mock-ups of Time, Scientific American, Psychology Today, and WIRED featuring headlines such as, “Self-Taught Robots,” “Replacing Genes with Code,” and “Breaking Through to Consciousness” lined the walls.

At first glance I thought these were actual magazine covers. It was only when I noticed the dates, ranging from 2021 to 2056, that I realized otherwise. I also had to laugh when I saw a US cover price listed as $74.90, while the Canadian price was $84.90. Even in the future, some things never change. As Black Flag Theatre Company’s director, Hugh Lehman, remarked, “Most people think the magazines are real until they notice the prices.”

Faux future magazine covers. (Images provided courtesy of Black Flag Theatre Co)

Philadelphia playwright in attendance

On the night I saw “Uncanny Valley,” its playwright, Thomas Gibbons, was also in attendance. Gibbons is the playwright-in-residence at InterAct Theatre in Philadelphia, and has received seven playwriting fellowships, two Barrymore Awards, and a Pew Fellowship in the Arts. It was such a delight to meet him and chat briefly before the performance started.

No spoilers, of course, but Gibbons is passionately curious about the ethical dilemmas we face as scientific knowledge plunges forth. When I mentioned that most people I know seem afraid to discuss AI’s growing role in our lives, Gibbons nodded and said, “People aren’t talking about the ramifications of AI, but they really should be.”

Storyline for “Uncanny Valley”

“Uncanny Valley” is a two-person show centered around a neuroscientist named Claire (Sue Birch) and her nonbiological humanoid protege, Julian (Michael Salimitari.) The two actors made a strong and believable duo and I was quickly transported into their world.

When we first meet Julian, he consists merely of a head and torso. As the play progresses, he grows more human, both inwardly and outwardly. Claire’s job is to lead him through the “Uncanny Valley,” to help him act convincingly human without making people too uncomfortable. You might call her a lab-coated Henry Higgins to Julian’s android Eliza Doolittle.

In one scene, Claire explains the importance of blinking. “We are a skittish species,” she tells Julian. “It’s how we’ve lasted this long.”

Claire’s description of our skittishness and the many unwritten rules involved in human social interaction brought to mind a relative of mine who has Asperger’s Syndrome. Over the years, he has taken classes in which teachers, much like Claire, taught him the importance of eye contact, smiling, and so forth. Of course, despite his struggles with human social interaction, I would never doubt his sentience!

So what does it really mean to be sentient? Is it enough to convincingly mimic a neurotypical human? When can you know for sure that the entity across from you is just as self-aware as you? These are just a few of the many questions evoked by “Uncanny Valley.” Questions that linger long after the final act.

Claire (Sue Birch) and Julian (Michael Salimitari) Photo provided courtesy of Black Flag Theatre Co

Human fascination with sentient machines

After all, humans have a natural tendency to anthropomorphize the machines in our lives. How many of us name our cars, for instance? I must confess that even though I know better, I sometimes feel like my Roomba is stalking me! (Seriously, why does it attack my ankles in the morning when there are plenty of other places on our floor worth cleaning?!?)

And don’t get me started with Siri and Alexa. Once you begin having conversations with machines, the tendency to anthropomorphize them increases. (As an aside, my Siri once replied to a simple request from me with, “Yes, bitch.” Even coming from a machine, it’s hard not to take such a glitch personally!)

At this point in time, we know the AI we encounter is not truly sentient. It only feels that way. However, as Thomas Gibbons’ play points out, this will not always be the case.

At some point, our feelings towards a machine will be more than mere anthropomorphism on our part. As Julian tells Claire, “You spent your career gazing across the valley. You must have known that someday, someone would gaze back.”

Strong debut for Black Flag Theatre Company

Since their slogan is, “That sound you hear? It ain’t The Sound of Music,”™ I expected Black Flag Theatre Company to dish up something modern and edgy for their debut. Thomas Gibbons’ “Uncanny Valley” certainly fit the bill. I had a great time and am looking forward to what Hugh Lehman and his crew bring to us next!

Follow Black Flag Theatre on social media:

Official website: Black Flag Theatre Company

Twitter profile: @BlackFlagTX

Instagram: @BlackFlagTheatre

Facebook: BlackFlagTheatreCo

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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REVIEW: Fun Home is Heart-wrenching, Poetic & Funny @attpac #FunHome

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Fun Home: Opening Night Ovation in Dallas

Fun Home, which won five Tony Awards (including Best Musical) is an engaging and unusual coming-of-age tale. The show is now playing in Dallas, Texas where it opened to a cheering crowd and standing ovation last night.

The National Tour Company of Fun Home (c) Joan Marcus

Fun Home: A Cartoonist’s Life Story

Fun Home is an original musical play based on the best-selling graphic memoir Fun Home: A Family Tragicomic written and drawn by cartoonist, Alison Bechdel. The story is revealed through the eyes of Alison Bechdel during three pivotal stages in her life: as a 10-year-old girl, a college freshman, and as an adult in her 40’s.

Despite hopping through several decades, Fun Home’s non-linear storyline is expertly woven together. Even though there are times when all three Alisons appear on stage together, it was handled so smoothly that I was never once confused as the to the time and place.

Young Alison (played alternately by Carly Gold and Jadyn Schwartz) simply wants to connect with her father through playing games and spending time together. The funeral home where he works part-time is the “fun home” referred to by the title of the play.

Teenage Alison (Abby Corrigan) remains close to her dad, a high school English teacher who sends her books to discuss over the phone and through letters. However, when Alison realizes she is a lesbian and tries to come out to her family, their reaction to her is baffling.

Grown up Alison (Kate Shindle), is able to sift through the past with much more clarity. Only now can she make sense of the puzzling events of her earlier life, such as her father’s conflicts as a closeted homosexual, and her mother’s grief over his many gay affairs.

Carly Gold as 'Small Alison,' Robert Petkoff as 'Bruce' and Kate Shindle as ‘Alison’ in Fun Home (c) Joan Marcus — Carly Gold as ‘Small Alison,’ Robert Petkoff as ‘Bruce’ and Kate Shindle as ‘Alison’ in Fun Home (c) Joan Marcus

Surprisingly Funny

Don’t let my plot summary scare you off! While Fun Home explores deep emotions, including grief, pain and denial, it is not heavy or depressing. Perhaps this is because the story never points fingers, lays blame or paints anyone as “the bad guy.”

In fact, the audience and I laughed several times throughout the show. I should point out that the humor in Fun Home comes not through slapstick antics. What makes this show funny is the same thing that make it heart-wrenching; it’s matter of fact honesty. When the college age Alison tries to be cool and it falls flat, for instance, I laughed and cringed for her at the same time.

I have not yet read the graphic memoir upon which Fun Home is based, but I can only assume that the powerful book and lyrics created by Lisa Kron for this stage play are due in a large part to the emotional power of the source material from Alison Bechdel, herself.

Abby Corrigan as ‘Medium Alison,’ (Caroline Murrah in background as ‘Joan.’) (c) Joan Marcus

Fun Home: Poetic and Immersive

Although Fun Home includes singing and dancing, this play is not your usual song and dance affair. Yes, the actors sing and dance, but it’s handled differently than you’d expect. Unlike traditional dance, the choreography by Danny Mefford, serves to amplify and express the storyline rather than remind us we are watching a play.

The haunting music composed by Jeanine Tesori and played by a small on-stage group of musicians was equally immersive. At times, the Fun Home orchestra blended so seamlessly with the play that I was barely aware of it on a conscious level. I really enjoyed the effect this had. It’s hard to explain, but as we walked out of the theater last night, I told my husband that it felt as if I had just watched a poem set to music rather than a Broadway musical!

(From L) Carly Gold as 'Small Alison', Luké Barbato Smith as 'Christian' and Henry Boshart as 'John' in Fun Home (c) Joan Marcus — (From L) Carly Gold as ‘Small Alison’, Luké Barbato Smith as ‘Christian’ and
Henry Boshart as ‘John’ in Fun Home (c) Joan Marcus

Engaging Coming of Age Tale

Obviously, not every audience member will directly relate to a lesbian cartoonist with a closeted gay father, but that’s not the point. What makes Fun Home so relatable is how honestly it lays out the emotions in Alison Bechdel’s family, especially the many layers to her relationship with her father.

Fun Home makes us ponder the mysteries in our own families, how even our closest family members can remain strangers at some level, and inspires us to think of how we might be enriched through thoughtful examination of our own childhood memories. I really enjoyed Fun Home, and I urge you to check it out when it visits a town near you!

Kate Shindle as 'Alison' and Robert Petkoff as 'Bruce' in Fun Home (c) Joan Marcus — Kate Shindle as ‘Alison’ and Robert Petkoff as ‘Bruce’ in Fun Home (c) Joan Marcus

Follow FUN HOME on social media:

Official website: Fun Home Broadway

Twitter profile: @FunHomeMusical

Hashtag for social media: #FunHome

AT&T Performing Arts Center on Twitter & Instagram: @ATTPAC

See FUN HOME in Dallas:

Where: AT&T Performing Arts Center/Winspear Opera House, 2403 Flora Street, Dallas, TX 75201
When: Through September 24, 2017
Tickets: Check availability and book online at the AT&T Performing Art Center official website.
Runtime: Runs for 1 hour and 45 minutes, with no intermission.

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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Review: RENT 20th Anniversary Tour @ATTPAC @RentOnTour #Rent20

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Opening Night Ovation for RENT: Feels like a Party!

Opening night for RENT 20th Anniversary Tour in Dallas ended with a cheering crowd and a standing ovation. This much-lauded and multi-award-winning show with book, music and lyrics by Jonathan Larson plays through October 2nd at the AT&T Performing Arts Center as part of its 2016 – 2017 Broadway Series.

It was obvious by the crowd’s cheers and anticipatory applause throughout the show that a good portion of the opening night crowd had not only seen RENT before, but they were very familiar with it. It felt like a party!

RENT 20th Anniversary Tour Company. Photo credit Emilio Madrid-Kuser, Broadway.com

RENT’s Storyline: Making a Living versus Making a Life

Set in the 1990’s, RENT follows the lives of seven aspiring creatives throughout a single tumultuous year as they struggle between making a living and making a life for themselves in New York City. Along the way, the characters are confronted with homophobia, class disparity, drug addiction, and what it means to succeed without selling out.

Inspired by an opera

Although inspired by Giacomo Puccini’s opera La Bohème, much of the storyline in RENT is autobiographical. Playwright Jonathan Larson’s best friend growing up was gay, for instance, while Larson dated a fickle dancer who eventually left him for a woman.

RENT: Charismatic Cast

RENT 20th Anniversary Tour features a talented, energetic, and youthful cast, for whom the 1990’s must feel so very far away! David Merino who plays Angel, is charismatic and amazing from the moment he struts onto the stage. I especially loved his moves and whoops a la Prince during the lively “Today 4 U” number.

While the entire ensemble has strong voices, Aaron Harrington’s lush baritone blew me away. I could listen to him sing all day. Speaking of vocals, the solo in “Seasons of Love” gave me some serious chills!

RENT’s choreography is varied and imaginative throughout, but I especially loved the “Tango: Maureen.” The show’s dance moves often add a bit of witty subtext to the vocals, such as in the playfully seductive “Light My Candle” song and dance, featuring Kaleb Wells as Roger and Skyler Volpe as Mimi.

Follow the the #Rent20 Tour site and social media:

Official website: Rent On Tour

Facebook page: Rent On Tour

Twitter profile: Rent On Tour

YouTube page: Rent On Tour

Hashtag for social media: #RentOnTour

RENT cast member’s sites and social media:

Danny Kornfeld as Mark Cohen,
Kaleb Wells as Roger Davis,
Skyler Volpe as Mimi Marquez,
Aaron Harrington as Tom Collins,
David Merino as Angel Dumott Schunard,
Katie LaMark as Maureen Johnson,
Jasmine Easler as Joanne Jefferson
Christian Thompson as Benny Coffin III.

RENT 20th Anniversary Tour in Dallas plays through October 2nd, so grab your tickets while you can. After all, there’s no day but today!

The world has been robbed

It’s such a shame that Jonathan Larson, who wrote the book, music and lyrics for RENT, unexpectedly died of an undiagnosed heart condition on the day of RENT’s preview performance 20 years ago! Aside from the obvious grief this caused his friends and family, the entire world has been robbed of knowing what else he would have given us through his creativity.

To learn more about Jonathan Larson and the background behind RENT, check out this documentary on YouTube: No Day but Today: Rent

Jonathan Larson was posthumously awarded many awards for RENT including: the Pulitzer Prize for Drama, the Tony Awards for Best Musical, Best Book of a Musical, and Best Original Score; the New York Drama Critics Circle Award for Best Musical; the Outer Critics Circle Award for Best Musical in the Off-Broadway category; the Drama Desk Award for Outstanding Book of a Musical, the Drama Desk Award for Outstanding Music, and the Drama Desk Award for Outstanding Lyrics; and three Obie Awards for Outstanding Book, Outstanding Lyrics and Outstanding Music.

RENT 20th Anniversary Tour in Dallas plays through October 2nd, so grab your tickets while you can. After all, there’s no day but today!

RENT tickets & more information:

What: RENT 20TH ANNIVERSARY TOUR
When: Now through October 2, 2016 in Dallas, TX

Closed Captioning: The TDF will be offering live captioning for the following performanc: Sunday, October 2, 2016 at 7:30pm
Where: AT&T Performing Arts Center/Winspear Opera House, 2403 Flora Street, Dallas, TX 75201
Tickets: Check availability and book online at the AT&T Performing Art Center official website.
Runtime: Runs for 150 minutes, with a 15-minute intermission. No children under 4-years-old allowed.

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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Review: A Gentleman’s Guide to Love & Murder @ATTPAC in Dallas

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Opening Night Ovation

The national tour of A Gentleman’s Guide to Love & Murder received a well-deserved standing ovation last night in Dallas, Texas at the AT&T Performing Arts Center. It was easy to see why this Tony Award winning musical received so many accolades – including winning Best Musical and Best Book – when it debuted in 2014!

"A Gentleman's Guide to Love & Murder" photo provided courtesty of AT&T Performing Arts Center — “A Gentleman’s Guide to Love & Murder” photo provided courtesy of AT&T Performing Arts Center

Lighthearted Black Humor

While the story revolves around a series of murders conducted by a ruthless serial killer, it’s actually a comical show that keeps you smiling and laughing from start to finish.

Fans of “Arsenic & Old Lace,” “Sweeney Todd” and “Clue” will instantly connect with the lighthearted black humor so capably rendered by A Gentleman’s Guide to Love & Murder. (And for those who live in the Dallas – Fort Worth area, Pegasus Theatre’s Living Black and White™ plays fall into this genre, as well!)

The Plot: Shades of Burton & Gorey

The story begins with an orphan named Monty Navarro (Kevin Massey) learning that his mother was an heiress who was disowned by her wealthy family. Monty’s mother, you see, had married for love instead of financial gain. This madcap tale of love and lust is set in Edwardian England, so any fans of Tim Burton and/or Edgar Gorey will be delighted by the costumes (which won a Tony Award) and the clever digitally-enhanced scenery (which was nominated for a Tony Award.) As someone fond of wordplay, the witty lyrics kept my interest and the story pace never lagged.

After Monty learns he is 8th in line to become the head of the wealthy and titled D’Ysquith family, he decides to avenge his disgraced mother by killing the D’Ysquith family members one by one. As dark as this sounds, the book and lyrics by Robert L. Freedman and the music and lyrics by Steven Lutvak will keep you in stitches throughout!

The humor varies from witty turns of phrase, slapstick, to the silliness of the characters themselves. Some of my favorite numbers include the wry, “I Don’t Understand the Poor” (which has a nearly spoken word quality to it that reminds me of Rex Harrison’s “Why Can’t a Woman Be More Like a Man?”) and “Better With a Man,” which is full of double entendres and hilarious choreography.

I should mention, too, that while we never see the 10-piece band in the orchestra pit, I thoroughly enjoyed how the instrumentation, heavy on clarinet, bassoon and oboe, perfectly matched the old-timey setting and scene.

Talented & Energetic Cast

The entire D’Ysquith family (9 characters, total) is played by one man, John Rapson, and he is just amazing! Not only does Rapson have a wonderful voice, but his energy and quirkiness kept me giggling from one character’s demise to the next.

As the murderous Monty Navarro, Kevin Massey somehow manages to remain rather likable despite his despicable acts. When not killing, Monty spends his time wooing two beautiful women: Kristen Beth Williams is delightful as the shallow and vain gold digger, Sibella Hallward, while her competition for Monty’s affection is Phoebe D’Ysquith, played to cute and bubbly perfection by Adrienne Eller.

One of my favorite scenes involves Monty juggling these two love interests by skillfully dashing between rooms during in his mansion to keep them from seeing one another. I should add that all three of them have voices worthy of an opera. In fact, there is not a weak voice in the cast.

Based on a movie

Film buffs may be interested to know that the plot for A Gentleman’s Guide to Love & Murder is based on a 1949 film entitled “Kind Hearts and Coronets” starring Alec Guinness in the multi-character role of the wealthy family members. But before you go stream that one on Netflix, catch the live performance of this madcap musical romp in Dallas while you can!

A Gentleman’s Guide to Love & Murder tickets & more information:

What: A Gentleman’s Guide to Love & Murder
When: Now through August 28, 2016 in Dallas, TX
Where: AT&T Performing Arts Center/Winspear Opera House, 2403 Flora Street, Dallas, TX 75201
Tickets: Check availability and book online at the AT&T Performing Art Center official website.
Runtime: Approximately 140 minutes, with one intermission.

Official Twitter account: @GentlemansGuide

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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The Lynching of the Santa Claus Bank Robber

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review

Hairspray is a satisfying confection

What’s Hairspray about?

Reminder that we’re ALL quirky

Timely even though set in 1962

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Thought provoking play by Thomas Gibbons

What is the Uncanny Valley?

Uncanny Valley by Thomas Gibbons

Philadelphia playwright in attendance

Storyline for “Uncanny Valley”

Human fascination with sentient machines

Strong debut for Black Flag Theatre Company

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Fun Home: Opening Night Ovation in Dallas

Fun Home: A Cartoonist’s Life Story

Surprisingly Funny

Fun Home: Poetic and Immersive

Engaging Coming of Age Tale

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Opening Night Ovation for RENT: Feels like a Party!

RENT’s Storyline: Making a Living versus Making a Life

Inspired by an opera

RENT: Charismatic Cast

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The world has been robbed

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Opening Night Ovation

Lighthearted Black Humor

The Plot: Shades of Burton & Gorey

Talented & Energetic Cast

Based on a movie

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