Ohio LIght Opera 2025

By Harry Forbes

Where else but at the Ohio Light Opera in Wooster could you find such a wonderfully varied season of musicals and operetta, mixing popular classics with seldom-seen gems?

This year, the former category featured two of Broadway’s all-time greats — Rodgers and Hammerstein’s Carousel and Lerner and Loewe’s Brigadoon — alongside Gilbert & Sullivan’s Patience. In the latter, audiences were treated to Noël Coward’s 1929 operetta Bitter Sweet (arguably his finest work for the musical stage), George and Ira Gershwin’s 1925 Tip-Toes, and German composer Eduard Künneke’s 1921 The Cousin from Batavia (Der Vetter aus Dingsda).

For me, those last three titles were the true treasures of the season. Still, Carousel and Brigadoon, familiar though they may be, were performed with such freshness and polish that they proved just as rewarding. In fact, I found Carousel more satisfying than its last Broadway revival. OLO’s productions are notable not only for their fine casts and tasteful production values, but also for their fidelity to the originals, nearly note-complete, and free of extraneous “updates.” The result is deeply satisfying theater.

As for the company, many new faces appeared this season, yet they blended seamlessly with returning veterans, adapting remarkably from one production to the next.

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Bitter Sweet

Seldom performed in America today — though I do recall a misjudged Bard College staging in 2011 — Coward’s hit-filled score was a genuine treat, particularly with such strong leads. Jenna Justice was perfection as well-born Sarah, who elopes with her Austrian music teacher Carl (pure-voiced Adam Griffiths) on the eve of her arranged wedding.

Justice and Griffiths gave radiant renditions of Coward’s once-famous songs, including “I’ll See You Again,” “Dear Little Café,” and “Zigeuner.” In the Vienna scenes, Caroline Hawthorne was splendid as Carl’s former mistress Manon, earning bravas for her superb “If Love Were All.”

Lovingly conducted by OLO Music Director Michael Borowitz and elegantly staged by Artistic Director Steven Daigle, the production was choreographed — like all this season’s shows — by Spencer Reese, whose period-perfect steps never disappoint.

Justice’s transformation from elderly Lady Shayne in the prologue to impetuous young lover, then seasoned performer, was beautifully charted. I only wished Griffiths had attempted a Viennese accent, though consistency across the cast might then have been required.

Though a few trims were evident in the substantial score — perhaps reflecting the licensed edition — the performance was nearly complete, allowing rarer numbers to shine.

Jenna Grissom Amia Korman, Rachel Weinfeld, and Kate Bilenko had fun as the exuberant “Ladies of the Town” in the Café scene. And Coward’s sly paean to the aesthetes of the 1890s, “Green Carnations,” was wittily delivered by Noah Sickman, Asher Ramaly, Niko Theriault, and Spencer Wilde.

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Patience

In Gilbert and Sullivan’s very funny sendup of the aesthetic movement, Spencer Reese (with flowing locks) and the deft Thomas Valenti made a wonderfully contrasted Grosvenor and Bunthorne. Their Act II duet, “When I Go Out of Door,” was so dazzling it was deservedly encored. Both men wrung every drop of humor from Gilbert’s witty text.

The ever-versatile Maggie Langhorne, a standout in all her roles this season, was a superb Lady Jane, blending comic pathos and musicality in “Silvered Is the Raven Hair” and marvelous in her duet with Bunthorne, “So Go to Him.”

Julia Wright Costa’s direction brought sparkle, with strong-voiced Jordan Knapick piquant in the title role. Niko Theriault (Colonel Calverley), Jacob Allen (Major Murgatroyd), and Adam Griffiths (Duke of Dunstable) nailed their jolly ensemble numbers, including “If Saphir I Choose to Marry,” joined delightfully by Camryn Finn (Saphir) and Amia Korman (Angela).

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The Cousin from Batavia (Der Vetter aus Dingsda)

Edward Künneke’s “Der Vetter aus Dingsda” (“The Cousin from Nowhere”), was a hit when it premiered in 1921 and has maintained its popularity in Europe. OLO mounted the show in 2000, it was such a hit, OLO brought it back two years later. Here it was again in the same fine translation by the late Richard Traubner. 

Jenna Justice and Adam Griffiths, in roles far removed from Bitter Sweet, impressed again as, respectively, Julia — hopelessly devoted to a remembered childhood sweetheart she hasn’t seen in years — and the “stranger” who mischievously impersonates him. Maggie Langhorne again charmed as Julia’s friend Hanna. Jack Murphy got laughs as Julia’s ever-persistent suitor.

Justice captivated with her first-act moon song, and Griffiths dazzled in the stranger’s “I’m Only a Wandering Minstrel,” topped with thrilling high notes.

Directed by Spencer Reese — with just a touch too much slapstick, including an extraneous food fight for Julia’s uncle and aunt (Niko Thereiault and Caroline Hawthorne)— the show was idiomatic and stylish. OLO Associate Music Director Wilson Southerland conducted with verve.

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Tip-Toes

The Gershwins’ 1925 confection sparkled, filled with delights such as “Looking for a Boy,” “These Charming People,” “That Certain Feeling,” “It’s a Great Little World,” and “Sweet and Low-Down.”

The unique staging featured pianos on either side of the stage, evoking the original Victor Arden–Phil Ohman duo, with Michael Borowitz leading a sprightly performance. Jacob Allen, OLO’s Associate Artistic Director, directed with flair.

The plot follows three vaudevillians — the titular Tip-Toes (Kate Bilenko), her brother Al (Noah Sickman), and uncle Hen (Jack Murphy) — hired for a Palm Beach party. When their gig is canceled, they hatch a scheme to pass Tip-Toes off as an upper-crust lady in hopes of securing her a wealthy husband.

The songs were winning throughout, though the relentless shtick between Al and Hen, with their corny vaudeville gags, wore thin after a while despite Sickman and Murphy’s best efforts.

Bilenko created an adorable heroine and she was, as ever, a delightful triple threat, and a fabulous dancer in particular. Maggie Langhorne played Florida matron Sylvia (a role originated by Jeanette MacDonald), Timothy McGowan was her philandering husband Rollo, and Spencer Reese played Sylvia’s brother Steve who falls for Tip-Toes, allowing Reese and Bilenko another chance to dance together — as in last year’s Me and My Girl — and once again, magic happened.

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Brigadoon

OLO’s Brigadoon (its first since 2015) was another triumph, especially with all the restored dance sequences, superbly choreographed by Reese.

Rachel Wresh was a tender Fiona opposite Jack Murphy’s Tommy (both sang beautifully), with Reese this time as Jeff, the cynical buddy. Wilson Southerland drew rich sound from the orchestra.

Timothy McGowan was Charlie, singing “I’ll Go Home with Bonnie Jean” and “Come to Me, Bend to Me” with requisite sweetness. Maggie Langhorne was the lusty Meg, socking out her bawdy comic numbers “My Mother’s Wedding Day” and “The Love of My Life” with highland aplomb. Thomas Valenti, so comically incisive in “Patience” transformed into the wise schoolmaster Mr. Lundie. Supporting roles were ably taken by Niko Theriault (Archie Beaton), Spencer Wilde (Harry Beaton), Safin Karim (Sandy Dean), and Camryn Finn (Jean MacLaren). Kate Bilenko's dancing during the solemn events of the second act was again first-rate. 

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Carousel

Hearing the full score — including the copious dance music — was sheer pleasure. Spencer Reese contributed fresh choreography, highlighted by the superb Kate Bilenko’s moving Act II ballet as the troubled  daughter Louise.

Nathaniel Richard, who played Sarah’s stuffy fiancé in Bitter Sweet, made a compelling Billy Bigelow, delivering a powerful “Soliloquy” and "The Highest Judge of All." Amia Korman’s Julie Jordan was beautifully sung and thoughtfully acted, portraying her as a young woman shaped by an unhappy childhood.

Yumeko Stern was a standout as Carrie Pipperidge, her comic sparkle recalling Audra McDonald’s star-making turn in the 1994 Broadway revival.

Director Steven Daigle staged the whole with great sensitivity and a keen sense of drama. Traditional in all respects, his stagng included a unique addition: Billy’s heavenly overseer, traditionally a solitary Starkeeper, was here augmented by two “heavenly friends” (Jack Murphy and Spencer Reese) who shadowed the action throughout. Some found the device puzzling, but I thought it sensibly underscored the connection between the characters' early actions and the celestial events to come.

Jenna Grissom delivered a stirring “You’ll Never Walk Alone.” Strong contributions also came from Jeron Robinson (Jigger), Timothy McGowan (Enoch Snow), and Meggie Vincent (Mrs. Mullin). In a change of gender, Stella Vodilko played the Starkeeper.

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103 and Still Kicking

To complement the many 1920s works this season, OLO presented a delightful morning concert of songs from that decade, performed by company members with Wilson Southerland at the piano.

Narrated with wit and erudition by OLO Board Chairman Michael Miller (who conceived the program with Steven Daigle), the concert showcased the era’s extraordinary richness, from Victor Herbert and Jerome Kern to Irving Berlin and Emmerich Kálmán.

The 14 numbers culminated in Harry Tierney’s “Journey’s End” from Up She Goes, sung in glorious unison by the entire cast. Performers included Camryn Finn, Leah Finn, Safin Karim, Helen Knudsen, Owen Malone, Timothy McGowan, James Moorehead, Arianna Paz, Asher Ramaly, Nathaniel Richard, Yumeko Stern, and Rachel Weinfeld, each shining in their respective solos and duets.

Selections also included rarities from Louis Hirsch’s The O’Brien Girl, Jean Gilbert’s The Lady in Ermine, Armand Vecsey’s The Hotel Mouse, and James Hanley’s Spice of 1922.

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Operetta Mania

Another special treat was Michael Miller’s wide-ranging operetta and musical theater clip compilation, which sampled everything from Allegro, Jubilee, Fifty Million Frenchmen, and Lola Montez to operettas such as Là-Haut, Chilpéric, Boccaccio, and Gigantes y Cabezudos — a veritable international tour.

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Under Executive Director Laura Neill and Artistic Director Steven Daigle, Ohio Light Opera remains an incomparable destination for lovers of musical theater and operetta.

(The Ohio Light Opera, The College of Wooster, 1189 Beall Avenue, Wooster, OH; 330-263-2345 or ohiolightopera.org; through August 3)

Photos: Matt Dilyard

Top: “Tip-Toes” company

Below: Jenna Justice, Adam Griffiths, “Bitter Sweet”

Thomas Valenti & company, “Patience”

Maggie Langhorne, Wesley Diener, “The Cousin from Batavia”

Spencer Reese, Kate Bilenko, Connor Burns, “Tip-Toes”

Rachel Wresh, Jack Murphy, “Brigadoon”

Amia Korman, Nathaniel Richard, “Carousel”

Floyd Collins (Lincoln Center Theater)

By Harry Forbes

This is an intensely moving revival of composer/lyricist Adam Guettel’s 1996 musical about the highly publicized incident of a young explorer trapped in a Kentucky cave when his foot gets stuck under falling rocks, and the futile two week efforts to extricate him. Above ground, hucksters, gawkers, and even family join the media circus in the increasingly carnival-like atmosphere. 

The episode had the nation transfixed, and also inspired Billy Wilder’s 1951 film “Ace in the Hole.”

Of course, Guettel’s musicals, including “Light in the Piazza” (whose premiere was another triumph for Lincoln Center Theater) and “Days of Wine and Roses” are less traditional Broadway sounding, and more in the vein of modern opera. But there’s genuine melody in Guettel’s bluegrass-infused score, and under the baton of original conductor Ted Sperling, the sounds on stage and in the pit are ravishingly beautiful.

Jeremy Jordan as the hapless titular character is quite magnificent, surpassing even his finest past work. He's completely believable in the role, singing (and yodeling) superbly. (Hats off to Bruce Coughlin’s exquisite orchestrations, too.)

But the whole production is impeccably cast, with wonderful work by Jason Gotay as Floyd’s loving brother, who falls prey to the lure of showbiz, singer Lizzy McAlpine in her stage debut as his mentally fragile sister, Taylor Trensch as the rookie Louisville reporter assigned to cover the story and who bonds with Floyd most touchingly, Marc Kudisch and Jessica Molaskey as his conflicted father and tremulous stepmother, and Sean Allen Krill as engineer H.T. Carmichael who declares his company is the only way to Floyd’s rescue. 

There’s good work, too, from Dwayne Cooper, Jeremy Davis, and Charlie Franklin as the opportunistic reporters whose razzmatazz numbers sporadically offset the somber main story, and Wade McCollum, Cole Vaughan, and Clyde Voce as Floyd’s cronies. All are authentically outfitted in Anita Yavich’s period costumes. 

Tina Landau, book writer and co-lyricist, has beautifully staged the whole, with striking groupings of the family, fellow coal workers, and such above ground, and the cave scenes below. And though Floyd is trapped, there’s nothing static about the staging which is full of diverting visuals. The opening sequence with Floyd feeling his way through the dark is wondrously handled with lighting (Scott Zielinski) and (I presume) platforms on various levels. (The design collective, dots, created the eye-filling settings.)

Apparently, the original production showed Floyd more visually stuck in the cave whereas this one is done impressionistically. But the staging and lighting, in tandem with Dan Moses Schreier’s atmospheric sound design, makes it still highly atmospheric, claustrophobic, and nail-bitingly suspenseful.

(Lincoln Center Theater at the Vivian Beaumont, 150 West 65th Street; floydcollinsbroadway.com)

Photo by Joan Marcus: Jeremy Jordan

Stephen Sondheim's Old Friends (Manhattan Theatre Club)

By Harry Forbes

That ubiquitous genre, the  Stephen Sondheim revue -- one which had its genesis in Ned Sherrin and David Kernan’s “Side by Side by Sondheim” back in 1976 -- has provided us with numberless such tributes over the years, each one worthy in its own way. And this latest, derived from the one night only all-star gala at London’s Drury Lane in 2022, is no exception. (Fittingly, original “Side by Side” star Julia McKenzie serves as Artistic Director here.)

The evening was planned in its early stages by Sondhem himself in tandem with his British producer/colleague Cameron MacIntosh who, after Sondheim’s death, followed through with shaping the project. 

After the gala, the show was reworked for a regular West End run with different cast members. Now, on Broadway, only Bernadette Peters and Bonnie Langford remain from the festive one night occasion, but Peters is joined above-the-title with Lea Salonga, along with a classy roster of West End and Broadway talent, including Kate Jennings Grant, Gavin Lee, Joanna Riding, Beth Leavel, and Kevin Earley.

Unlike Broadway’s last Sondheim anthology -- “Sondheim by Sondheim” in 2000 -- there’s little narrative here, just number after number. Nearly all the songs will be more than familiar to fans, and if the show has a fault, that may be it. But one can’t argue with the quality of the material. And the audience at the performance I attended was highly enthusiastic throughout.

Though Salonga has not particularly associated with Sondheim, that instantly changes with “Old Friends.” Not only does Salonga offer gorgeous renditions of such lyrical ballads as “Loving You” and “Somewhere,” singing with the same crystalline clarity that brought her to fame in “Miss Saigon” in 1989, but most surprisingly, she takes on the raucous Mrs. Lovett in “Sweeney Todd” and force-of-nature dynamo Rose in “Gypsy.” And she’s quite fabulous in those atypical roles. 

As for Peters, the lady remains something of a marvel. She’s retained her classic look to a remarkable degree, and the voice, some occaional strain notwithstanding, is still capable of the purity of old. Given her long and distinguished career with Sondheim, it’s goose-bump time to hear her reprise bits of her original stage roles including “Sunday in the Park with George” and “Into the Woods.” as well as roles she played in revival during the composer’s lifetime, such as “A Little Night Music” and “Follies.” Both “Send in the Clowns” from the former and “Losing My Mind” from the latter are highlights. 

The first act gives us clusters of songs from “Company,” “Into the Woods,” and “Sweeney Todd,” along with other items, including a snippet of “Bounce” done by Peters, the rarest selection of the evening. Jeremy Secomb is particularly outstanding as Sweeney Todd, a role he’s played to acclaim. And in the “Into the Woods” sequence, there’s also standout work from Jacob Dickey as the Wolf, Early and Kyle Selig as the lovelorn princes, and Jasmine Forsberg as Cinderella. 

The second act includes an amusing riff on Peters’ distinctive version of “Broadway Baby,” and a funny version of “You Gotta Have a Gimmick,” with Peters, Leavel, and Riding as decidedly over-the-hill strippers. 

There are many highlights. For starters, Langford delivers one of the very best versions of “I’m Still Here,” propulsively sung with wonderfully firm tone, though one verse has undergone a lyric change to excise dated references. Riding, still fondly remembered for her Julie in Nicholas Hytner’s production of “Carousel” at the National Theatre, delivers the tongue-twisting “Getting Married Today” with aplomb. Lee sings a venomous gender-altered “Could I Leave You?” as Kernan did years ago in “Side by Side”; Leavel makes “The Ladies Who Lunch” her own. The “Tonight Quintet” from “West Side Story” gets a particularly exciting rendition from Dickey, Daniel Yearwood, Selig, Maria Wirries, and Jasmine Forsberg. Grant’s “The Boy from…” is a hoot. And Lee, Jason Pennycooke, and Selig cavort merrily through a riotous “Everybody Ought to Have a Maid.” 

The whole is beautifully paced by director Matthew Bourne (with choreography by Stephen Mear). Stephen Brooker’s musical arrangements are excellent, under the musical supervision of Alfonso Casado Trigo. (Annbritt duChateau conducts.) 

(The Samuel J. Friedman Theatre, 261 West 47th Street; OldFriendsBroadway.com; through June 15) 

Photos by Matthew Murphy:

(Top) - Jacob Dickey and Bernadette Peters perform “Hello, Little Girl” 

(Below) - Jeremy Secomb and Lea Salonga perform “The Worst Pies in London”

BOOP! The Musical (Broadhurst Theatre)

By Harry Forbes

“BOOP! The Musical” may not be one for the ages, but for now, I’d say this candy-colored concoction based on the adorable cartoon creation of the 1930’s Max Fleischer shorts is mightily entertaining. And it serves beautifully as a star-making vehicle for leading lady Jasmine Amy Rogers who wins all hearts with her delightful, perfectly judged portrayal.

She’s a fine human embodiment of the animated Boop -- eschewing the trademark voice of the cartoon’s Mae Questel (and others who voiced the characger in a Helen Kane little girl voice) -- but offering her distinct vocal charm. She excels in all departments, a genuine triple threat. Sabana Majeed’s hair and wig design (spit curls and all) help with the impersonation. Rogers maintains Betty’s innocence throughout, never breaking character. 

Very like the 2023 “Barbie” film, Bob Martin’s generally amusing book aims to make a case for the heroine’s relevance for today: her spunkiness, resourceful, versatile, and kind, and with a bit of a contemporary feminist perspective. But never in the heavy handed tiresome way of so many like-minded projects these days.

Martin gives us a Betty who’s weary of her black and white existence in the 1930s cartoon world, so she uses her inventor Grampy’s time travel device to be transported to the here and now, a world full of wondrous color. (The contrast between the black and white world of the past and the colorful present runs throughout the show, creatively embodied by Gregg Barnes' costumes and David Rockwell’s scenic design.)The Act 2 opener “Where is Betty?” is a witty visualization of that contrast, as the cast dances in costumes, color on one side, black and white on the other. (Nods to Fleischer's original renderings show up periodically in Finn Ross' projection design.)

Where Betty finds herself is smack dab in the middle of Comic Con in present-day New York, where she is befriended by teenaged Trisha (Angelica Hale) who, as it happens, has always idolized Betty Boop, and she takes the transplanted Betty under wing. Almost immediately, Betty falls for Trisha’s sometime babysitter Dwayne (outstanding Ainsley Melham), an aspiring trumpet player, who naturally falls for her himself.  

Rounding out the present day principals are Anastacia McCleskey as Tricia’s supportive aunt Carol who’s campaign manager for Erich Bergen’s oily politician Raymond Demarest running for mayor.

Veterans Stephen DeRosa and Faith Prince have some bright moments as Grampy (from the cartoon world of ToonTown), and his old flame Valentina with whom he reunites these many years later. Providing periodic diversion in the black and white world are Aubie Merrylees and Ricky Schroeder as Betty’s frantic director and his rather overly devoted assistant. And I mustn’t forget Betty’s little dog Pudgy, delightfully and unobtrusively manipulated by puppeteer Phillip Huber.

Music producer David Foster has fashioned a mostly traditional sounding score (with Susan Birkenhead’s expert lyrics), which is not 1930s pastiche as you might expect, but stylistically appropriate. The Betty-Dwayne duet, “Why Look Around the Corner” is a charmer, but there are lots of catchy tunes including Valentina’s “A Cure for Love” and her duet with Grampy, “Whatever It Takes.” Even the Demarest gets a good number, “Take It to the Next Level,” as he tries to make his lecherous moves on Betty. 

Betty’s eleven o’clock number, “Something to Shout About,” wins sustained applause. 

Director/choreographer Jerry Mitchell keeps things moving at a brisk, masterful pace, with plenty of invigorating dance numbers throughout. 

(Broadhurst Theatre, 235 W 44th St;  BoopTheMusical.com)

Photo by Matthew Murphy and Evan Zimmerman © And tag @MurphyMade and @EvZMM:

(l-r) Jasmine Amy Rogers (Betty Boop) and Ainsley Melham (Dwayne)

Redwood (Nederlander Theatre)

By Harry Forbes

Idina Menzel fans certainly get their money’s worth in this tailor made musical conceived by the lady herself in tandem with director Tina Landau. The star vehicle, which started out at the La Jolla Playhouse last year, tells the tale of Jesse, an unhappy art gallery owner who, grieving the death of her adult son (Zachary Noah Piser),  leaves her photographer wife Mel (De’Adre Aziza), and drives out to California where she ultimately finds redemption and peace of mind among the majestic Redwood trees. 

When she gets there, botanists Finn (Michael Park) and Becca (Khaila Wilcoxon) come upon Jesse sleeping al fresco in the woods and, though they insist she leave by morning, Jesse stubbornly keeps returning, inexorably drawn to the place. In short order, she begs them for a chance to join them as they make their daily climb. And, of course, eventually she’ll do just that, thanks to the empathetic and paternal Finn who overrules his more pragmatic colleague Becca’s objections. 

After she proves herself, Jesse is even allowed to sleep overnight on the tree’s towering platform. Jesse’s nighttime panic attack and an encroaching forest fire while she’s aloft provide a couple of the show’s few truly compelling moments. 

Thanks to the spectacular scenic and video designs by Jason Ardizzone-West and Hana S. Kim, respectively, there is a wonderful sense of exhilaration during the climbing episodes, but generally, on the human level, the book by Landau is distinctly on the mild side. Even though the other characters have their respective issues too, dramatic interest is thin. And it doesn't help that Jesse, as written, is fairly irritating throughout, and it’s not tempered by much in the way of charm. 

The power ballad-heavy score by Kate Diaz (lyrics by Diaz and Landau) is not particularly memorable on first hearing either and registers as loud and not a little repetitious. But it clearly plays to the strengths of Menzel’s trademark vocal talents. Her big numbers sound like close cousins of her“Wicked” and “Frozen” hits, “Defying Gravity” and “Let It Go.” Some of these are pitched so high that I had trouble deciphering the lyrics. But it must be said her uniquely belting pipes sound as powerful as ever.

Easier on the ear, all in all, were the numbers for Mel, Finn, and Becca. Finn has a rousing number called “Big Time Religion.” Mel’s “Looking Through This Lens” is particularly lovely. And it’s followed by Becca’s big solo moment “Becca’s Song.” (“The Stars” gives Menzel one of her less bombastic numbers.)

Still, Menzel -- a savvy actress as much as a powerhouse singer -- does a commendable job throughout, at one point executing some impressive aerial flying, even singing upside down as she’s strapped to a harness during her song “In the Leaves.” (Vertical movement and choreography are the work of Melecio Estrella, BANDALOOP.)

Piser, who has appeared in other roles throughout the show, returns as Jesse’s son Spencer, and he, too, has an affecting musical moment. 

The show is 110 minutes, sans intermission, but even so, I'm afraid feels protracted.  

(Nederlander Theatre, 208 West 41st Street; RedwoodMusical.com)

Photo by Matthew Murphy: Idina Menzel

Gypsy (Majestic Theatre)

By Harry Forbes

It was only a matter of time before Audra McDonald would join the distinguished line of post-Ethel Merman interpreters of that arguably most demanding of leading lady musical roles -- Rose, the ultimate stage mother -- and she is, as you would expect, quite superb. 

Though it scarcely seems so long, it has already been 18 years since the first-rate Patti LuPone revival, so this latest one is not premature. And director George C. Wolfe’s production is a fine one across the board. Intriguingly, the advance publicity made clear that, far from color blind casting, McDonald would be playing Rose pointedly as a black woman, with her children Gypsy and June presumably of mixed race parentage.  I wondered how that would be conveyed apart from the actual casting, or how the conceit might impact the integrity of the original Arthur Laurents’ book. 

But, as it happens, nothing’s been altered in the script, and race doesn’t overtly figure in any of the plot turns, even on a subliminal level. (Rose’s machinations to get her kids booked meets the standard impediments, but race isn’t one of them.) Still,  this is not color blind casting for McDonald indeed plays the role as a scrappy black woman with the pointed vocal inflections of a woman of a certain class and era. And in so doing, she  creates a unique characterization unlike other Roses we’ve seen, and reminding us yet again of what a potent actress she is even apart from her lustrous voice.

Vocally, McDonald’s trained soprano voice might not seem the ideal fit for the belting Rose, and some of her register shifts are a tad disconcerting at first. But, for the most part, she sings in a chest voice, only morphing into purer soprano tones on the highest notes. 

“Rose’s Turn” is delivered with tremendous ferocity earning a deserved ovation, but she also scores delightfully in the lighter moments like “Have an Egg Roll, Mr. Goldstone,” and “Together, Wherever We Go.” 

She’s got strong support from Danny Burstein, brilliant as Herbie, the manager who loves her, and provides the family with a temporary semblance of stability. And Joy Woods, so impressive in last season’s CSC revival of “I Can Get It For You Wholesale,” makes an ideal Gypsy, sweet and awkwardly self-effacing in the early scenes, luscious as the strip tease artist she becomes. 

The three strippers who instruct novice Gypsy with “You Gotta Get a Gimmick” are among the best, and the number, familiar as it may be, comes out freshly minted.  Lesli Margherita, Lili Thomas, and Mylinda Hull wring every ounce of humor out of the number as Tessie Tura, Mazeppa, and Electra. 

And Kevin Csolak is a sensational Tulsa, delivering one of the best versions of “All I Need is the Girl.” Camille A. Brown eschews the sacrosanct Jerome Robbins choreography for her own and her work in this number and throughout is terrific. 

Baby June (Jade Smith at my performance) was surely the most acrobatic within memory, and she morphs neatly into Jordan Tyson’s older June. Tyson’s “If Momma Was Married” duet with Woods is another highpoint. Elsewhere, though I felt both Junes were at times undercut by Wolfe’s exaggerated staging of their numbers.

Andy Einhorn leads his forces in a polished account of score, though I must confess I thought the famous overture was a tad short of pizzazz. On the other hand, audience members at my performance yakked all the way through it, so perhaps the blame lies there. 

Santo Loquasto’s set deftly handles all the scenes from Rose’s father’s Seattle house to the elaborate Minsky set piece of Gypsy’s strip. Toni-Leslie James’ costumes are spot on, and Mia Neal’s hair and wig design, Jules Fisher + Peggy Eisenthauer’s lighting, and Scott Lehrer’s sound are top of the line.

(Majestic Theatre, 245 W 44th Street; GypsyBway.com)

Photo by Julieta Cervantes: (l. - r.) Audra McDonald & Joy Woods

Elf (Marquis Theatre)

By Harry Forbes

When “Elf” premiered on Broadway back in 2010, I opined that the show was so good it could easily have staying power well beyond the new year. My cheeky advice went unheeded, of course, and the show closed after playing its planned seasonal run. But it was brought back at Christmastime a couple of years later. 

And now, here it is again, this time with a thoroughly new production team, with its essential quality emerging as remembered. 

Polls have repeatedly named the 2003 Will Ferrell film “most popular Christmas movie” so, for most, a synopsis is probably superfluous. But for the uninitiated, “Elf” tells of central character Buddy, who had been brought to an orphanage by his dying mother and subsequently managed to climb into Santa’s sack, so was raised in the North Pole believing himself to be an elf. 

When Santa finally reveals Buddy’s backstory, Buddy travels to New York to meet his birth father, Walter Hobbs, previously unaware of Buddy's existence. Long since remarried to Emily, Walter now has a young son, Charlie, one who doesn’t believe in Santa Claus any more than the work-consumed Walter. When a DNA test verifies Buddy’s parentage, Walter reluctantly takes him in. Eventually, Buddy lands a job in Macy’s Christmas department where he falls for the loveless Jovie. It’s hardly a spoiler to reveal that all is set right eventually with a giant affirmation of Santa Claus. 

Once again, I admired the economy of Thomas Meehan and Bob Martin’s script which satisfyingly honors the film’s screenplay by David Berenbaum. And the tuneful, old-time Broadway score by Matthew Sklar (music) and Chad Beguelin (lyrics) -- under the musical direction of Alan Williams -- is a pleasure to hear again.

Smartly cast with Broadway pros Ashley Brown and Michael Hayden as Charlie’s parents; “Tina” alum Kaylen Davion as Jovie, Jennifer Sánchez as Walter’s good natured secretary Deb, Kai Edgar as Michael, Kalen Allen as a beleaguered Macy’s manager, and Sean Astin skillfully switching between Walter’s bottom-line boss Mr. Greenway and jovial Santa. All are excellent.

Musically, Brown and Edgar knock it out of the park with their two duets, “I’ll Believe in You” and “There is a Santa Claus.” Davion scores with her soulful “Never Fall in Love.” And Sanchez in a particular bright spot in all her moments, musical and otherwise. 

As Buddy, Grey Henson proves a worthy successor to role originator Sebastian Arcelus, and tops his previous Broadway work in “Shucked” and “Mean Girls” with an altogether delightful performance. 

Philip Wm. McKinley directs at a brisk pace, and Liam Steel’s choreography is great fun. 

Gareth Owen and Peter Fitzgerald’s sound design is somewhat overamped in the current style, but the dialogue and lyrics are never distorted Tim Goodchild’s set and costume design -- lighted by Patrick Woodroffe with video design by Ian William Galloway & Mesmer Studios --  sets the festive tone, and there are several nice scenic surprises which delight. 

In its modest but winning way “Elf” more than holds its own with all the current musical offerings on Broadway, and, a rarity, actually sends the audience out humming at least one of the tunes, the earwormy “Buddy the Elf.” 

(Marquis Theatre, 210 West 46th Street; ElfOnBroadway.com; through January 4)

Photo by Evan Zimmerman for MurphyMade: (l.-r.) Grey Henson, Sean Astin

Maybe Happy Ending (Belasco Theatre)

By Harry Forbes

This new musical with Darren Criss and Helen J. Shen as futuristic robots is surely the most unexpectedly and disarmingly delightful show of the year so far. A 2016 Korean hit, which swept the Korean Musical Awards and has already had successful runs in Japan and China, and also a 2020 engagement at the Alliance Theatre in Atlanta, GA., from which this production emanates, the show should win more hearts and fans on Broadway.

The setting remains Seoul, Korea in the “near future,” the program facetiously tells us. In this world, so-called Helperbots -- lifelike robots -- serve the humans until they are “retired” to the Helperbot Yards where they live in neat, ultramodern studio apartments.Oliver (Criss) and Claire (Shen) are two such. Though there is little to no interaction among the residents, and Oliver’s only companion is his trusty house plant, Claire one day knocks on Oliver’s door when she finds she is running out of power and needs a charge.

The insular Oliver is reluctant to answer much less help her, but eventually, he succumbs. Claire gradually wears down his resistance to more social interaction, and before long, they will take an adventurous journey to a distant island where Oliver plans to reunite with his former master James who imbued in Oliver a serious love of jazz. Despite Claire's skepticism, Oliver insists that James had been a true friend, not merely his master. Claire, for her part, hopes to witness the wondrous fireflies there. 

Although these bots are not programmed for love, of course, we know that romance is sure to blossom. I don’t want to give much more away but suffice to say, their odyssey becomes a profoundly spiritual and moving experience for them as well as the audience. 

Criss as the inferior (and more robotic) model 3 bot does some of the best work of his career in a superbly disciplined and downright lovable performance, while Shen compliments him beautifully as the more gregarious and advanced model 5. 

Two other excellent performers round out the cast: Dez Duron as lounge singer Gil Brentley who pops up periodically echoing Oliver’s infatuation with jazz, and Arden Cho as James and several other characters. 

One of the nicest surprises about this show is that it’s not yet another over amplified rock musical, but a gentle, jazz-infused  score with songs that genuinely arise out of the situation. Will Aronson and Hue Park share the superior composing honors. The show it reminded me of most in its unpretentious charm was the Michel Legrand “Amour” in 2002. I do hope that “Maybe Happy Ending” surpasses that one’s unfortunately short run, and perhaps Criss’ starry participation will ensure healthy box office.

Directed with supreme sensitivity by Michael Arden (who also helmed the earlier Atlanta mounting), there’s not a false emotional note here, and everything unfolds on Dane Laffey’s classily simple but elegant set. Laffey also collaborated on George Reeve’s stunning video design. Clint Ramos’ costumes, Peter Hylenski’s sound, and Ben Stanton’s lighting are all state-of-the-art perfect for this material. 

Highly recommended. 

(Belasco Theatre, 111 West 44th Street; www.maybehappyending.com or Telecharge or 212-239-6200)

Photo by Matthew Murphy & Evan Zimmerman: (l.-r.) Helen J. Shen, Darren Criss