Category Archives: Musicals and Opera

Jul 13

Uneven Grandeur: “Evita”

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The cast of “Evita.”

Presented by Reagle Music Theatre of Greater Boston
Lyrics by Tim Rice 
Music by Andrew Lloyd Webber
Direction and choreography – Rachel Bertone
Musical Direction – Dan Rodriguez
Scenic Design – Cameron McEachearn
Lighting Design and Production Design –  Baron Pugh
Costume and Wig Design – Ellie De Lucia
Sound Design – Sebastian Nixon

Online Playbill

July 11 – 20, 2025
Robinson Theatre
617 Lexington Street
Waltham, MA 02452

Critique by Craig Idlebrook

2 hours, 15 minutes with a 15-minute intermission

WALTHAM, Mass. — The musical Evita is having a moment. It is an interesting time for a resurgence of a play about a populist Argentine icon, when the world appears buffeted by the populist and authoritarian actions of some world leaders. 

The play, which started its Broadway run in 1979, is seeing a viral resurgence, thanks to a Rachel Zegler-led production in London that has taken some of its act outside the theater for the masses to enjoy. One would think that Eva Perón, the titular Argentine historical figure, would have appreciated the streetside stagecraft.  Continue reading →

May 27

It’s About Us: “The Prom”

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The Company of THE PROM. Photo by Nile Scott Studios.

Presented by Wheelock Family Theatre
Book and Lyrics by Chad Beguelin
Book by Bob Martin
Music by Matthew Sklar
Based on the Original Concept by Jack Viertel
Directed & Choreographed by Larry Sousa
Music Directed by Jordan Oczkowski

May 17 – June 8
Wheelock Family Theatre
180 Riverway
Boston, MA 02215

Runtime: 2 hours and 25 minutes including intermission.

Review by Helen Ganley

Floor-length dresses and well-tailored suits, a room full of bouncing balloons and floating streamers—it can only mean one thing: prom season. This high school rite of passage is so deeply ingrained in American culture that it’s almost hard to imagine a parents’ board canceling the whole event for one reason: two girls want to attend together. The Prom at Wheelock Family Theatre unfurls this story with energy and empathy, delivering a heartfelt tale of acceptance, community, and love. Continue reading →

May 22

Unapologetic Joy, Bursting at the Seams: “Hello, Dolly!”

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The cast of “Hello, Dolly!” Photo by Mark S. Howard.

Presented by Lyric Stage of Boston
Music and lyrics by Jerry Herman
Book by Michael Stewart
Based on “The Matchmaker” by Thornton Wilder
Directed by Maurice Emmanuel Parent
Music direction by Dan Rodriguez
Choreography by Ilyse Robbins
Featuring Temma Beaudreau, Joshua Wolf Coleman, Max Connor, Aimee Doherty,
Kristian Espiritu, Mark Linehan, Michael Jennings Mahoney

May 16 – June 22
Lyric Stage Theatre
140 Clarendon Street, 2nd floor
Boston, MA 02116

Runtime: 2 hours and 30 minutes including intermission.

Review by Maegan Bergeron-Clearwood

BOSTON — Full disclosure: I am something of a Hello, Dolly! apologist. Sure, it’s Broadway at its hammiest, and I won’t pretend that it’s aged perfectly. But beneath its veneer of feathers and bows and heteronormativity, this is a musical about characters pushing against turn-of-the-century gender and class constraints, straining to express themselves as loudly and brassily as possible.

Jerry Herman, the composer-lyricist behind some of Broadway’s most fabulous characters (see Mame and La Cage aux Folles) knew what exactly he was doing here: Hello, Dolly! is queer joy incarnate, and you can’t convince me otherwise. Continue reading →

May 18

A Heartfelt Take on a Modern Classic: “The Light in the Piazza”

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The cast of The Light in the Piazza; directed by Loretta Greco; photo by Julieta Cervantes.

Presented by The Huntington
Book by Craig Lucas
Music and lyrics by Adam Guettel
Based on the novel by Elizabeth Spencer
Directed by Loretta Greco
Music direction by Andrea Grody
Scenic design by Andrew Boyce
Lighting design by Christopher Akerlind
Costume design by Alex Jaeger
Featuring Emily Skinner, Sarah-Anne Martinez, Joshua Grosso, William Michals,
Rebecca Pitcher, Alexander Ross, Rebekah Rae Robles

May 9 – June 15, 2025
The Huntington Theatre
264 Huntington Ave. Boston, MA 02115

Review by Maegan Bergeron-Clearwood

BOSTON – When The Light in the Piazza premiered on Broadway two decades ago, it was lauded as a quaint but refreshing return to style, and Adam Guettel’s delicate, almost operatic score became an instant classic. Compared to contemporary 2000s box-office smashes like Spamalot and Avenue Q, this intimate love story favors pathos over spectacle, sincerity over irony – on the surface, it’s as old school as a 21st Century musical can get.

Classic as it may look and sound, however, The Light in the Piazza is a weird little musical. It examines the idea of love through a myriad of refractions: passion, to be sure, but also power, possessiveness, and loss. It frequently shatters the fourth wall and its own idyllic veneer. At times, it is disarmingly funny; at others, profoundly sad. Continue reading →

May 08

Naïve innocence to Vindictive corruption: “Mean Girls”

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Pictured (L-R): Katie Yeomans (Cady Heron), Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), and MaryRose Brendel (Karen Smith). Photo by Jeremy Daniel, 2025

Presented by Emerson Colonial Theater
Book by Tina Fey
Music by Jeff Richmond
Lyrics by Nell Bejnamin
Directed by Casey Hushion
Choreographed by John MacInnis

April 29th – May 4th, 2025
Emerson Colonial Theater
106 Boylston St
Boston, MA 02116

2 hours 15 minutes with one intermission

Review by Helen Ganley

BOSTON — Cliques endure throughout life, beginning as early as elementary school and continuing into adulthood. You might find them at work, with the crew that always goes to Happy Hour (with no extended invite), among couples who only hang out with other couples, or with PTA Power Parents who plan events without outside input. The most common place to find them, however, is in high school. Emerson Colonial Theater’s production of Mean Girls explores the dangers of cliques while emphasizing the importance of authenticity and kindness throughout life. Continue reading →

Apr 20

A Springtime Treat for the Senses and Soul: “Crowns”

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Cast photo by Chelcy Garrett.

Presented by Moonbox Productions
Community Partner: Rosie’s Place
By Regina Taylor
Adapted from the book by Michael Cunningham and Craig Marberry
Directed by Regine Vital
Associate Directed by Davron Monroe
Music Directed by David Coleman
Music Accompaniment by David Freeman Coleman (keyboard) and Brandon Mayes (drums)
Costume Design by E Rosser
Set Design by Baron E. Pugh
Featuring: Cortlandt Barret, Janelle Grace, Kaedon Gray, Lovely Hoffman, Mirrorajah, Cheryl D. Singleton, Mildred E. Walker

April 11th – May 4th
Arrow Street Arts
2 Arrow St., Cambridge, MA 02138.
Tickets here

Article by Maegan Bergeron-Clearwood

CAMBRIDGE, Mass. — After a long, dark winter, Crowns is a musical manifestation of springtime, bursting with color, decadence, and jubilation. Regina Taylor’s musical is adapted from Michael Cunningham and Craig Marberry’s photography/oral history book of the same name, and it’s been a staple of the American regional theatre scene for over two decades. Although this musical celebration of African American womanhood is in many ways timeless, Moonbox Production’s staging, directed by Regine Vital, is impeccably here-and-now, coming across as a breath of sweet, fresh air in this dire political moment.

Crowns is largely structured like a church worship service, but it is bookended by Yoruban ritual. The first sounds we hear come from Man/Elegba’s (the only male character, played by Kaedon Gray) staff during the processional prologue, a heartbeat that echoes through the play and draws a clear connection between Black church culture and African tradition. Crowns proceeds with a scant narrative: Yolanda (Mirrorajah), a young, hardened teen, is sent from Brooklyn to the South after her brother is killed. There, her grandmother (Mildred E. Walker) welcomes her into a community of Church Ladies, who regale Yolanda with stories about their most sacred, royal accessory: hats. Continue reading →

Mar 31

An Invitation to Sacred Vulnerability: “Night Side Songs”

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Jonathan Raviv and Brooke Ishibashi in “Night Side Songs” at Under the Radar’s “Under Construction.” Photo: Nile Scott Studios and Maggie Hall

Presented by American Repertory Theater in association with Philadelphia Theatre Company
Words and music by Daniel Lazour and Patrick Lazour
Directed by Taibi Magar
Music Direction and Piano Arrangements by Alex Bechtel
Featuring: Jordan Dobson, Robi Hager, Brooke Ishibashi, Johathan Raviv, Mary Testa

March 27 – April 20
At the Cambridge Masonic Temple from March 27 – April 6
At Hibernian Hall, April 8 – 20
Tickets and information here

Content Advisory: This production contains descriptions of cancer treatments as well as discussions of grief, loss of a parent, and terminal illness. Recommended for ages 15+.

Review by Maegan Bergeron-Clearwood

CAMBRIDGE, Mass — Night Side Songs is not a religious story, but it is the closest I have ever come to having a spiritual experience in the theatre.

This production by the Lazour brothers, aptly described by the A.R.T. as a “communal music-theater experience,” is simultaneously concerned with the benign materiality and ineffable transcendence of human existence. In one moment, central character Yasmine (Brooke Ishibashi) discusses her love of Velveeta mac-and-cheese; in another, she contemplates the unfathomable smallness of existence – two distinct but equally holy experiences. Continue reading →

Mar 27

Chaos & Dark Secrets in “The Addams Family musical”

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Big League Productions, Inc. production presented at The Boch Centre Wang Theatre
Book by Marshall Brickman and Rick Elice
Music and lyrics by Andrew Lippa
Directed and choreographed by Antoinette Dipietropolo
Music and lyrics by Jason Robert Brown

U.S. Tour Website

March 21 – 23, 2025
Boch Centre Wang Theatre
270 Tremont Street
Boston, MA 02116

2 hours and 30 minutes, including one intermission
Virtual Playbill

Review by Helen Ganley

BOSTON — Dr. Frankenstein huddles in his laboratory, taking pieces of a life once passed and intricately stitching them together. He huddles in the dark, throws the switch, and braces for the spark, birthing a new life out of what once passed. Some audiences might see a banner for The Addams Family and think it’s a musical adaption of the 2022 miniseries Wednesday. However, the creature Dr. Frankenstein is adapting isn’t from 2022 at all, but rather the iconic 1964 TV show that predated it. The Boch Center Wang Theatre’s national tour production of The Addams Family breathes life into the familiar classic with entrancing sets, a lively undead ensemble, and catchy songs you just can’t help but snap your fingers to. Continue reading →

Mar 13

The National Tour of “Parade” at the Emerson Colonial Theatre

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Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus.

The New York City Center production presented at the Emerson Colonial Theatre 
Book by Alfred Uhry
Music and lyrics by Jason Robert Brown
Co-conceived by Harold Prince
Directed by Michael Arden
Choreography by Lauren Yalango-Grant & Christopher Cree Grant
Music direction by Charlie Alterman
U.S. Tour Website

March 11 – 23, 2025
Emerson Colonial Theatre
106 Boylston Street
Boston, MA 02116

2 hours and 30 minutes, including one intermission

Review by Kitty Drexel

BOSTON — Uhry and Brown’s Parade is at the Emerson Colonial Theatre through March 23. This heartbreaking musical about Christian nationalist antisemitism and its consequences on decent, law-abiding folk has become a musical theatre classic for the ages. It features strong choreography by Lauren Yalango-Grant & Christopher Cree Grant, decisive music direction by Charlie Alterman, and direction by Michael Arden. Continue reading →

Mar 03

Convention is a Trap: “A Man of No Importance”

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Eddie Shields (center) and the company of “A Man of No Importance.” Photo by Nile Scott Studios.

Presented by SpeakEasy Stage
Book by Terrance McNally 
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Based on the film “A Man of No Importance”
Directed by Paul Daigneault
Music directed by Paul S Katz
Choreographed by Ilyse Robbins

Feb. 21 – March 22, 2025
Stanford Calderwood Pavilion
Boston Center for the Arts
539 Tremont St
Boston, MA 02116

Content warning: Themes of homophobia and some strong language. Recommended for Ages 12+.

Critique by Kitty Drexel

BOSTON — Ahrens, Flaherty, and McNally’s A Man of No Importance is based on the film (1994, directed by Suri Krishnamma. Starring Albert Finney.) of the same name which is a play on words based on the Oscar Wilde comedy A Woman of No Importance. Both tackle social status, ethics, and to a lesser degree, gender roles. The musical, like the play, features a central character holding a deep, dark secret that sparks community shame when it is exposed. Fortunately, both the musical and the play have happy endings.

A Man of No Importance opens with lines from Oscar Wilde’s “The Harlot’s House.” The reader, Alfie Byrne (Eddie Shields), is an unmarried bus conductor who loves theatre and poetry on his bus in 1960s Dublin. While dodging his boss Carson (Joe LaRocca), Alfie tells his bus riders this year he will direct the St. Imelda Players community theatre production of Oscar Wilde’s Salomé. It’s a biblical story about St. John the Baptist, Alfie tells them. He conveniently leaves out the salacious parts because, he says, art can’t be salacious.  Continue reading →