Non-Registered Critics: Barry Creyton
The Goodbye Girl
The Musical Theatre Guild should be proud of this fine, coherent, splendidly cast reading of The Goodbye Girl, with principals Wendy Rosoff and Will Collyer charismatically suited to their characters, in great voice, and as a couple, exuding all the essential romantic chemistry.
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La Vie En Rose
Julia Migenes is one of those rare divas whose singing is superior, whose acting would pass the Stanislavsky test, and who looks like the part she’s playing. Her justly celebrated Carmen on film already proves these assertions — she sings, acts, and dances so supremely well in this, that any one of her triple threats would be worth the price of admission. The same could be said for her atonal Lulu in Berg’s titular opera (of which she gives us an amusing hint in this program), her Salome, danced with all the allure and precision of a prima ballerina, and so on and on through Puccini, musical comedy and multiple Grammy awards.
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Loot
Orton’s perfectly turned phrasing gives a Wildean resonance to even a seemingly trite aphorism, elevating it to a gem of satirical wit. And no, I’m not going to quote one here for the simple reason that they belong in the context of the play which, without too much carping, I urge you to see.
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