Cape Cod Theater Reviews

The emotions run deep in this play and the actors were definitely up to the task! It was a reminder to us all that life is precious and those around us have the capacity to lift us up and carry us through despair if we will let them. Be sure to catch this show while you can. Tickets are selling out fast!

“A Grand Night for Singing” is a fast-paced and super fun reimagining of some of the best Rogers and Hammerstein songs from such popular musicals like, “Oklaholma!,” South Pacific,” “The King and I,” “Carousel,” “The Sound of Music” and many more. Some songs are blended together with remarkably smooth transitions and a few unexpected twists, making this a wonderfully refreshed take on classic tunes. If you’re a fan of musicals of any kind, this show is for you!

The four children, the “four humans” in an ancient prophecy, are delightful. Peter (Kaya O’Brine), Susan (Rebecca Reyes), Edmund (Sam Bonwit) and Lucy (Gemma McBride) are very convincing and captivating. Sam Sewell as Tumnus, the faun, was spot-on; the opening night audience loved him. The interactions of Mr. and Mrs. Beaver (Shiloh Pabst and Julianne Bonwit) were equally appreciated by the full house. The White Witch (Elizabeth Dunton) and her sidekick the Dwarf (Phoebe Schuessler) worked well together and were somehow both scary and comical.

“Secret Garden” is directed by the incomparably talented Jennifer Almeida, who also plays Lily Craven, the spirit ghost of the manor. Playing Lily’s grieving window, Archibald Craven, who is stricken with a hunched back and broken heart, is Terrence Brady. Together, the vocals of Almeida and Brady are a delight.

Cassandra West and Rob Minshall stand out in their roles as Margot and Tony, the ill-fated couple. A beautiful stage set evokes a well-heeled 1950s living room, and the turn-the-tables murder moment is most effective.

This production excels. The cast — Maeve Moriarty, Keith Richard Chamberlain, Rick Sherburne, Daniel Powers, Joe Hackler, Dafydd Rees, Brynn Grambow, Hannah Reggio and Kathleen Larson Day — are perfect in their roles. But Rees steals the show. To tell you how would really be to spoil some great fun.

Children will love this show. It’s full of fast-paced swashbuckling action. The comical pirates bounce off each other in synchronicity both vocally and physically. They are Captain Braid Beard (Anthony Teixeira), Swill (Rachel Walman), Sharktooth (Nicholas Stewart), Pierre (Devin Massarsky) and Max (Toby Wilson). The song and dance numbers are fabulous with clever choreography created by Chelsey Brown.

Spending a snowy afternoon with the incredibly talented cast of “Into the Woods Jr.” was a delight. The cast of young performers is packed with so much dedication and wit.

Eight talented actors take to the Comedy Club stage to show us how their world is radically changing in the midst of the fear and uncertainty of wartime. Sandy Basile, Amy E. Cole, Janet Geist Moore, Frank Hughes Jr., Liz Liuzzi, Marcus Liuzzi, Amie-Leigh McFarlane and Emma Miles are outstanding in a don’t-miss entertainment that proves that their little “band of brothers,” in community together, can do the risky thing, thereby affirming their sturdiest selves – especially when times are tough.

One duo who captures hearts in “Elf” are Buddy’s stepmother Emily and brother Michael, played by Katie Beatty and Toby Goers. Their two lovely duets, “I’ll Believe in You” and “There is a Santa Claus,” were super sweet.

The large cast never stumbles or flounders; they just rejoice in the message of the play. It’s difficult to single out anyone because everyone is just so good.

The singers sometimes cleverly appear to be playing an instrument as they sing. One such moment is James Davis as Ritchie Valens whose guitar plug dropped out as he was performing ― with no sound change. He smiled angelically as he reinserted it, while continuing to sing, and the audience had a belly laugh that was welcome and thoroughly enjoyable.

The 18 performers in Drake’s Provincetown production never miss a beat. There isn’t a weak link among them. This level of professionalism is rare in community theater, and many in the cast do indeed live and work here. Almost, Maine sets a high bar.

Hischak is wonderfully over the top as the drama critic Daria whom all the actors love to hate. And her acting is just as good, dead or alive, as it takes some kind of control to allow other actors to drag your “corpse” around, dumping it here and there.

Each cast member had ample time to shine in the spotlight, as well. Holly Hansen’s “Colored Lights” was heartfelt and enchanting, and Rebecca Riley captured the audience’s hearts with both her voice and her comic timing in "Arthur in the Afternoon” and “All that Jazz.”

Ari Lew is Hugo, the lovesick and down-on-his-luck nice guy who is under the tutelage of Captain Lewis, played by Brian Lore Evans. Lew has so mastered his comedic role that we could watch his face on a screen and still laugh. He’s that good!

This show is completely, wonderfully, laugh-out-loud-until-you-cry perfect for this moment—and does this cast ever deliver! The story is the stuff of a hundred silent films, with Marx Brothers, Abbott and Costello sprinkled throughout, and a little I Love Lucy thrown in for good measure.

Much of the dialogue is sung and the music is challenging at best. The performers do a great job starting on the right note, staying in tune and moving while singing without losing the flow.

Steve Ross (as Lawrence ― impeccable sartorial get-up and faux suavity) and Rob Minshall (mismatched, slouchy clothes and an air of always running to catch up) are perfect as the trickster pair.

Folks at the Academy of Performing Arts regularly tackle these big musicals in their small theater and the community is the better for their efforts. Choreographer Missy Potash and orphans choreographer Sydney Peterson deserve credit for moving 50 people around the stage, not to mention having the orphans kicking legs (and not each other!) in a chorus line.

The cast works together in lockstep, each expressing their roles with unfettered intensity and passion. Emotions run the gamut and their faces show it ― tears and snuffles included ― and they ask questions, questions … endless questions.

The show features 35 actors, many of them very talented. But Peter Cook, who plays the lead as Tevye, is the incredible backbone that keeps this show humming. When did I know Cook would be an incredible Tevye? From his very first line.

The four-person cast is a delight. D’Arcy Dersham as Michaela and Susan Lambert as Jojo are electric as they dance around each other, dissecting their characters’ memories and expectations with spot-on emotional fervor. Janet Geist Moore as Baby is hilarious and has the distinction of being the oddball character that barges into the action precisely when she’s not wanted.

This play is fantastically thought-provoking, entertaining, and a wonderful lens through which to think about what matters most in life—and death—to each of us.

A standout performance on opening night was Macklin Devine as the certifiably crazy Renfield. Granted, this character is intense in any production about Dracula, but Devine was simply divine as the fly-eating lunatic. The strong ensemble of Dracula’s ghouls and household staff need a mention too. They were Anna Botsford, Zendon Donoho, Nansea R. Flynn and Violet Hellstrom.

Simon’s Tony-nominated play is peppered with funny lines, one of the funniest delivered by Paul responding to Corie’s threat to get a guard dog: ‘She’d take him for his first walk, he’d see these stairs and go right for her throat.”

It’s love at first sight when Regullano bounces onto the stage, laundry on the couch, and a yapper she can’t contain. She’s a delight to watch and to hear, and her jumbled excitement and pain flow out of her like a tiny Niagara Falls. Kim is the perfect listener, expressing herself the best she can while being a calming presence.

It is of course Curry who is the star, present in every scene, wise-cracking, showing us what might be going on behind the façade of easy-to-espouse yet difficult-to-live concepts. He is wickedly funny, sexy and absurd by turns, with a strong voice that is startlingly human (smoking a joint, drinking bourbon, and popping pills… “I take them for my back, okay?” she hisses. “You try holding up that torch!”).

The comedic exhaustion the Statue of Liberty feels as she has to handle the voices in her head as to who she is, defined by everybody from an equally chatty statue of Sojourner Truth to a Texas school teacher, give this production directed by Janice J. Goldberg, a roller coaster style pacing with absurdity and sentimentality offering a compelling interpretation of these confusing times that are filled with hope and fear.

The entire cast brought their best performances, transforming the Academy stage into a spooky and mysterious setting that only Dame Christie could conjure.

More than a spy story injected with humor, “The 39 Steps” is a tour de force of not only unforgettable performances but ingenious stagecraft, brilliant sound and lighting design and clever, sleight-of-hand costume designs.

The dynamics between the characters demonstrates a push-pull relationship, each actor playing off the other. Westminster is very much a Withers play. It is funny and insightful, and it escalates delightfully to an over-the-top crescendo clearly calling out the prejudices and blind-spots human beings have about one another and the difficulty we have putting our money where our mouths are.

Withers is Pia, and Stacy Fischer is Krysten, who together share wordplay and telling body language when questions and answers balloon into seemingly unsolvable quagmires. They are excellent in their rapid-fire dialogue, clearly illustrating how Pia fancies herself mature and genteel and Krysten portrays an intelligent airhead with a big secret to hide.

The actors perform their little hearts out! They really commit to their roles hilariously; insert “audible gasp” here. My favorite line in the play! There’s physical comedy, colorful creatures (a giant tarantula!) and even a rootin’, tootin’ ballet that brought giggles galore!

Annie Miesels astounds. It is her multifaceted interpretation of the flakey yet incredibly sharp Alice that brings a jaunty levity to this incredibly profound narrative. Jennifer Van Dyck, playing Diana, gives a performance both humorous and emotionally impactful.

In this relatable and warm WHAT production, the actresses and Walker make these characters two women you’re glad to know.

Annie Meisels playing naïve housewife Alice and her artist and fierce single-mom neighbor, Diana, played by Jennifer Van Dyck, are powerhouses. Meisels is sweet in a floral dress while the harder-edged Van Dyck wears silk and denim. Each is enthralled and confused by the other, but the development of the characters and the plot is seamless and so real, it’s easy to become the proverbial fly on the wall and sit in rapt attention for the 90-minute (no intermission) show.

“Waitress” contains every ingredient necessary for a perfect production: it is relatable, the songs are memorable and the entire cast is top notch. You’ll be playing the soundtrack the whole way home and dreaming of homemade pies. The echoing, longing sounds of “sugar, butter, flour” will leave audiences craving more “Waitress” long after the musical ends.

This is a big musical brought to life with hundreds of tiny moments. If a play could wink at you, this one surely would. College Light’s troupe understands that and delivers a production with very good diction (you have to hear the jokes to get them!) and songs, even, that are whispered rather than belted out.

I should warn you that “Death of a Salesman” is not a fun or easy two hours. WIlly’s agony is etched in the muscles of Doyle’s face, the canals formed by years of clenching his jaw. It is a relief to see the actor at curtain call and note that his face is relaxed and smooth.

Emmalee Anita Diaz truly shone as Elle Woods, leaving an indelible mark with her melodious voice and side-splitting musical numbers. Her standout moment in the song "Legally Blonde" was a treat, especially when paired with her Greek chorus — Sachiko Nicholson, Grace Kelly Kretzmer and Kathryn-Ximena Rojas. This singing and dancing trio, living in Elle's head, literally freezes the rest of the cast, making every appearance riotously funny.

Some of the standout moments of “I Have a Song to Sing, O!” include a pleading “Spurn Not the Nobly Born” by the excellent Joseph So, a breathless whirl of “I Am the Very Model” sung by Robert Grady and the chorus, a gorgeous rendition of “Poor Wandering One” by the gifted Laura Barabe, a touching “My Lord, A Supplicant at Your Feet” performed by Pam Banas, and a rousing rendition of “He Is an Englishman” by Scott Hamilton and the chorus. The members of the entire cast put their team differences aside and join together in the final spirited number from “Yeoman Of The Guard,” “I Have a Song to Sing, O!”

Standouts on opening night were the indomitable, eye-rolling Holly Hansen, Hailey Deltano’s show-stopping vocals, the dynamic Mo O’Neill and Alex Murray in the ensemble, and of course Jared Hagen’s over-the-top Major-General. But seriously, everyone was incredible. This entire group sings, dances and emotes constantly with such joyful, enthusiastic energy.

It would be easy to call out every single person who worked on this production; it’s as near perfection as any theater, anywhere, can get. If you haven’t seen Gilbert & Sullivan, come try it out. If you’ve already seen Gilbert & Sullivan—trust me, you haven’t seen it like this.

This highly enjoyable story is brought to life by a fantastic cast. The ensemble makes up the loyal wolf pack and a group of peckish vultures, keeping the audience entertained with their high energy and amusing quips. Hugo Ceraldi also delivers a standout performance as Akela, the distinguished king of the wolves, commanding the stage with his powerful intonation.

This ‘80s girl will guarantee you don’t have to know the movie “Heathers” by heart or at all to love the musical. Better motor and get your tickets now — this one is sure to sell out fast.

While all the numbers were worth a listen, the setup worked especially well when the singer was well-matched to the song, such as 2022 American Idol contestant Bonifini playing along on her rhythm guitar to Joplin’s “Me and Bobby McGee.” With her long wavy hair and faded jeans, Bonifini captured the vibe of Joplin’s 1971 hit perfectly.

It’s an incredibly talented cast and hard to pick one standout. Patience, played by Susannah Hardwick, had such an incredible voice with songs including “Still brooding on their mad infatuation” and “Long Years Ago, fourteen maybe.” Thomas Valenti was side-splittingly funny as Reginald Bunthorne, who had the audience in stitches most of the night; Nathan Tilton was a great “idyllic poet” Archibald Grosvenor.

Actor TJ O’Leary dominates the stage, playing this insufferable oaf of a royal with a perfect mix of immaturity and abrasiveness, capturing the infuriating and dangerous implications of insecurity with a hilarious jaunt.

CLOC’s “Little Shop of Horrors” is a testament to the bright future of both on- and off-Broadway theater. Every member of the incredibly talented cast is a current college student or recent college graduate, each of whom already boasts an impressive repertoire. The cast is charming, often comedic, and immensely talented, shining brightest during group numbers like “Finale Ultimo: Don't Feed the Plants.”

On stage, the music and dancing are the heart of the show along with heavy doses of laughter. The actors are extremely talented and their commitment to their craft is obvious.

...the real standouts of this thoroughly synchronized ensemble are the corruptible innocents, Brad and Janet, played by a real-life couple, Zack Johnson and Madison Mayer. Both of them are a bit more zaftig than the Brads and Janets I’ve previously seen (such as Barry Bostwick and Susan Sarandon in the movie), but they make it work in their favor.

Zack Johnson has a lovely voice when he sings his solos “Once in a While,” and “Damnit Janet.” He and Mayer are real-life partners whose natural affinity adds heft to the otherwise goofy plot. Mayer’s all charming innocence as she sings and struts her way to a new self realization and is aided by a cast of accomplished artists.

Being able to constantly watch Fielding’s reactions — rather than having occasional cuts to Wally in the film — also adds comedy and depth. Fielding uses body language, furrowed brows, and trying-to-be-patient expressions to indicate his skepticism and attempts to understand, sometimes pushing into a “What the heck are you talking about?” stare that gets laughs.

It’s daring of course to be the first one to do anything; adapting a movie—that already has cult status—for the stage is super-daring, with the inevitable comparisons it invites; but Harbor Stage owns this story. Kropf captures the essence of a kind of artist who stays on the highwire not because he’s afraid of falling but because it’s the only place he can find meaning; Fielding is the artist who wants his work to fit into the overall picture of a life where process is more important than success. And both Kropf and Fielding absolutely shine.

Alex Valentine is the booming, cursing voice of Audrey II, demanding sacrificial meals from Seymour—“Must be blood, must be fresh”—and pointing out the not-so-obvious: “a lotta folks deserve to die.”

Everyone gives fabulously engaging performances, with stand-outs being Jody O’Neil as the Lecturer, the Greek chorus of the play, Brittany Rolfs as Mae, the reefer den matron with a heart of gold, Maranda Rossi as Mary Lane, the sweet and innocent all-American girl corrupted by the Devil’s cabbage, and Gabriel Graetz in multiple roles, including a hysterical, yet wonderfully disturbing turn as a baby neglected by his dope fiend mother. As a company, the entire cast brings their A-game.

It’s not the plot that makes Reefer Madness so much fun, of course; it’s the lovely wackiness of it all. Eras come and go with some abandon and little logic—from dancing the Charleston to the evils of jazz, from bobby socks and soda jerks to slinky lingerie and bobbed coiffures, it’s hard to see exactly when it’s supposed to take place, which adds to the silliness of it all.

Hedwig and Yitzhak, respectively, and who’s performances are so dynamic it gives the illusion that they jut out into the theater, as if we’re wearing 3-D glasses. And their voices register on the Richter scale.

“Hedwig and The Angry Inch” is just as much a musical as it is a stand-up comedy. Diem and Moran are quick-witted, tastefully raunchy and unapologetically blunt; this two-man show will have audiences cackling just as much as they are crying.

Knitel delivers an absolute standout performance as King. She belts out each King classic with powerful clarity, while ensuring her every movement and word is charged with King’s charisma and humor. Over two hours and 20 minutes, the audience witnesses Knitel’s King transform from a gawky teen into a confident woman, sure of her voice and the power it holds.

Seating the full house was somewhat chaotic with patrons entering through multiple doors and clogging the aisles as ushers tried to help find seats. However I would navigate that traffic jam again in a New York minute to take in this bright, lovely show.

It’s nonstop fun action and hilarity, along with outstanding singing and dancing. There’s a tap dance routine, acrobatics and even roller skating. Don’t miss this show!

“The Lion King” is a production not to be missed. The show is perfect for families with small children and an easy hour to commit to on a summer morning. Get tickets soon; this one will sell out fast!

We laughed, we cried and we cheered. LaRose’s ability to relate to her audience was never more evident. As you take in where she came from and what she’s experienced, she seems to be talking to you directly, which she is.