5. Movin’ Out, Colonial Theatre. Initially I had predicted this to be a glamorized dance recital utilizing Billy Joel’s greatest hits. What a pleasure it was to be wrong. Twyla Tharp’s ingenious choreography was more than deserving of the Tony as she effectively brought Joel’s songs to new life. Powerful dancing and intelligent storytelling introduced a special genre of theatre to its audiences. A-
4. Urinetown, Colonial Theatre. With a name like this, how can we go wrong? Robbed of the Tony for Best Musical, this sassy, smart tale was original from the ground up. The book is clever and the songs unique. This is good theatre. A
3. Company, Speakeasy Stage Company. A revival of the landmark 1970 Stephen Sondheim showcase, its messages are more relevant today than ever. The new space was used beautifully to intimately portray the pros and cons, ups and downs of both the single and married lives. A
2. Beauty and the Beast, North Shore Music Theatre. When one reads the director’s notes, and he mentions that we will be transported to another land, it is so easy to nod and smile but be all too aware of the fact that we are just watching great actors with wonderful costumes, magnificent sets, and a charming score. This is not one of those shows. The director truly did make us forget we were in a theatre; we really were in an enchanted place. And it was a pleasure to be there. A+
1. Big River, The Wang Center. This is what theatre is all about. This retelling of the 1983 masterpiece is a reinvention of the wheel. The sign language was not just a fluid part of the show; it actually enhanced it. There is not one bad thing to say about this – this was a rare and distinct honor to be a part of this landmark in entertainment. A+
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