THE LITTLE DANCER

Directed and choreographed by Susan Stroman
Open: 25.10.2014 - Kennedy Center
Photos by Paul Kolnik and Lexey Swall

To see videos of this production go to “The Moving Picture Show”

“…this simply lovely offering near perfectly melds the worlds of musical theatre and ballet and uses those two art forms in the best way possible to tell a charming story. Who better to be at the helm of bringing these two worlds together than Susan Stroman Strongly versed in both art forms with a clear love for both, her direction, along with her choreography, offers some of the best work I've seen her do in years… Stroman and her team of designers deliver production values that are worthy of the Broadway stage, but do not rely on dazzling spectacle to make an impression.”

in www.broadwayworld.com by Jennifer Perry

“Stroman set out to emphasize ballet in this production, and she does not disappoint. Dance is front and center throughout, highlighted by Peck’s exceptional technique and the versatile company’s strong support. The undisputed dance highlight is the show’s sensational 11 o’clock number, “The Little Dancer Ballet,” which reprises high and low moments of the plot in a mixture of styles.”

in Variety by Paul Harris

“That ardor for the dance form and its classical rigor are filtered through the becoming choreography of director Susan Stroman, who, in the footsteps of Agnes de Mille and Jerome Robbins, has created as a finale for this musical — still, it seems, deeply in progress — a delightful dream ballet, with Peck at its center… The more finely wrought diversions of “Little Dancer” occur when Stroman and her corps of dancers remind us that this is indeed a musical about ballet. These dance sequences offer the most invigorating exposure in a musical to the beauty of the form since “Billy Elliot.” Stroman’s choreography here betokens the passion for dance she infused so exhilaratingly into “Contact,” her Tony-winning triptych of dance-theater pieces.”

in The Washington Post by Peter Marks

“As danced by Tiler Peck, the brilliant New York City Ballet principal who plays the central role, this wordless passage brings the musical to a stirring climax. Although Ms. Stroman’s classical choreography is often more correct than inventive, here she finds a way to turn classroom steps expressive, as Marie (Ms. Peck) moves from shining pride in her immaculate technique to confusion and terror as visions of her past life buffet her around the stage… “Little Dancer” unquestionably marks a return to confident form for all three of its principal creators. Ms. Stroman, you’ll recall, also had a belly-flop on Broadway last season, with the fizz-free Woody Allen musical “Bullets Over Broadway.” And yet I couldn’t shake the feeling that, with its soft edges and its slight air of the formulaic, this musical set in the later years of the 19th century might almost have been written sometime in the middle of the 20th.”

in The New York Times by Charles Isherwood

THE MERRY WIDOW

Directed and choreographed by Susan Stroman
Open: 31.12.2014 - Metropolitan Opera
Photos by Ken Howard and Sara Krulwich

To see videos of this production go to “The Moving Picture Show”

"Enlivened by sprightly dancing, this colorful production is mostly faithful to the style of the piece. And from the glowing, subtle performance that the conductor Andrew Davis coaxed from the Met orchestra, it's clear that he loves the 1905 score. Over all, however, the production came across as tentative, as if Ms. Stroman were struggling to find a balance between respecting the idiom of the work and charging it with fresh theatricality."
in The New York Times by Anthony Tommasini

"Ms. Stroman's choreography had plenty of sizzle-from the ballroom dances at the embassy to the folk numbers in Act II and the can-can of Act III...However, Ms. Stroman had mixed success infusing that verve into the dialogue scenes."
in Wall Street Journal by Heidi Waleson

"Frantically yet fleetly staged and choreographed by none less than Susan Stroman, it tried to transform a staid opera house into a snazzy showbizzy showplace."
in Financial Times by Martin Bernheimer

"Stroman's strongest suit is her choreography and from the opening waltzes and polkas to acrobatic folk dances to the shouting, skirt-flinging high steps of the grisettes at Maxim's, including a can-can during the set change, the dancing is one of the show's biggest attractions." 
in The Huffington Post by Wilborn Hampton 

"Susan Stroman achieved graceful movement from all cast members, whether dancers or "civilians."...From their part alone, it is easy to see why Susan Stroman has won five Tony awards." 

Examiner.com

"The new staging by Tony winner Susan Stroman is commendable mostly for its choreography...Elsewhere, Stroman struggled to enliven the scenario......Stroman's pacing lurched along, the words' witty edges dulled, and every opportunity for comic timing was missed..." 
in The Classical Review by Eric C. Simpson

PARADISE FOUND

Co-directed and choreographed by Susan Stroman
Open: 26.05.2010 - London's Chocolate Factory
Photos by Catherine Ashmore and Alastair Muir

"... “Theatre is never as interesting as real life,” remarks the Grand Vizier near the end. Unfortunately, it’s an apt judgment on a musical that suffers from a nonsensical plot, a rather tired bawdiness, a lack of imaginative zest and the absence of a single really sparkling number.

in The Evening Standard by Henry Hitchings

“One emerges from the show in little doubt that this is a rare botched shot from both the Menier and the dream-team of Prince and Stroman. Theatrical paradise it certainly ain’t.”
in Telegraph.com by Charles Spencer 

“Moreover, there's not much for Stroman to do. She grabs a chance at staging a sexually suggestive ballet to "The Blue Danube Waltz," which is less suggestive or amusing than is clearly intended. Indeed, treating Strauss' most popular composition in this manner isn't a winning or cunning joke, it's just one of the many lost opportunities in PARADISE FOUND”.
in theatremania.com by David Finkle

"The creative team on PARADISE FOUND are showbiz royalty. It's co-directed at the Menier by Hal (Cabaret, epoch-making Sondheim premieres) Prince and Susan (The Producers, Crazy for You) Stroman, with a book by Olivier Award-winning dramatist Richard Nelson. But they seem to have taken leave of their collective senses. From that point of view, perhaps PARADISE FOUND should be renamed "Marbles Lost", rather than the other alternative that keeps springing to mind: "Purgatory Endured"

in The Independent by Paul Taylor

“Some of Broadway's best have descended on this Southwark playhouse bearing a brand-new musical. We have Harold Prince and Susan Stroman as co-directors, Mandy Patinkin as the star, Jonathan Tunick as orchestrator of tunes deriving from Johann Strauss II. Yet, I fear, all they have brought us is a prize turkey: a pastiche “Arabian Nights” fable of unbelievable coarseness and vulgarity... Prince and Stroman, who's responsible for the choreography, are practised hands who know how to stage even this kind of tosh... But the show fails in its attempt to combine rogueish naughtiness with Viennese sophistication, and, in its desecration of Strauss's melodies, proves you can't pour "alt Wien" into new bottles.”
in guardian.co.uk by Michael Billington

“PARADISE FOUND is a bizarrely dreadful musical about the Shah of Persia trying to kickstart his failing libido on a trip to Vienna at the turn of the last century... And it’s all the more peculiar because it has been produced to such a notably high level. The entire show has been shipped in, as if from Broadway, glistening with the waltz music of Strauss, orchestrated by Jonathan Tunick, staged by Harold Prince and Susan Stroman (it needed the two of them?) and boasting a London theatrical debut by the extraordinary Mandy Patinkin as a bald eunuch.”

in whatonstage.com by Michael Coveney

"Theater is like cookery: You can assemble all the right ingredients but sometime the souffle just won't rise. PARADISE FOUND is helmed by Hal Prince and Susan Stroman; Mandy Patinkin and John McMartin head the cast; and the score comes courtesy of Johann Strauss II. So why are their combined efforts -- and, boy, is this show effortful -- so dismayingly dreadful? “

in Variety by David Benedict 

BIG FISH

Directed and choreographed by Susan Stroman
Open: 06.10.2013 - Broadway
Photos by Paul Kolnik and Sara Krulwich

To see videos of this production go to “The Moving Picture Show”

"There’s a huge gap between what you see and what you hear in “Big Fish.” Visually speaking, this new Broadway musical is inventive, playful and often downright magical. But then, we expect nothing less from director Susan Stroman, the whiz behind “The Producers” and “The Scottsboro Boys"... But Stroman rises to the occasion and illustrates the prodigious imagination of her hero, Edward Bloom, by skillfully weaving together Benjamin Pearcy’s fancy projections, clever sets by Julian Crouch (“The Addams Family,” “Shockheaded Peter”) and good old-fashioned razzle-dazzle".
in New York Post by Elisabeth Vincentelli

"Edward's stories do accommodate flashes of Stroman's playful wit. In one scene, characters from a Western flick strut out of a TV set; in another, Edward, as a young solider, heroically chases the enemy through lines of tap-dancing chorines. Too often, though, the choreography seems more busy than vibrant, with ensemble members spinning around creatures ranging from a sultry witch (an overbearing Ciara Renee) to a friendly giant (a resonant-voiced Ryan Andes).”
in USA Today by Elysa Gardner

"I’d say that Will exists basically to be a straight man to Edward, except that everyone here — including Edward — turns out to be a straight man to Ms. Stroman’s production. As she demonstrated in “The Producers,” she is fluent in all styles of theatrical dance, and in “Contact” she showed a lovely gift for finding character through choreography... Here, though, she seems to be drawing almost randomly from her bottomless bag of tricks. Yes, her use of dancers to embody an enchanted forest and a campfire is delightful. And it’s hard not to chuckle when those two-stepping elephants make a cameo appearance. But if the show is all about the need for personal myths, it has to let its leading mythmaker take charge."

in The New York Times by Ben Brantley

“Shabby values aside, the show has its enchantments. These are largely the gifts of helmer-choreographer-magician Stroman, who brings genuine wit to her technically ingenious stagecraft… Resisting the usual Broadway tendency toward over-production, this show is perfectly scaled to the modest level of Edward’s boyish daydreams. Invention, not excess, seems to be the dominant house rule, from the tight choreography, which is quick and clever and never over the top, to the primary-color projections by Benjamin Pearcy that make a comic-book universe of Julian Crouch’s sets.”
in Variety by Marilyn Stasio

"People want to see things beyond their imagination! Bigger than life!" says a circus ringmaster. It's advice that Stroman clearly has embraced, for better or worse. The ante keeps getting upped with each scene and it gets exhausting... Some jaw-dropping stuff is indeed on show: There's a stunning dance scene in which Benjamin Pearcy's projections are broadcast on William Ivey Long's sumptuous cloaks. There's a fun moment between Butz and a giant — an excellent Ryan Andes, channeling Monty Python — who have a good song called "Out There on the Road."... And the act ends with daffodils sprouting from every corner of the stage, a beautiful tour de force from set designer Julian Crouch that would be enough to end most musicals on a high.... After intermission, a big, bombastic song — "Red, White and True," complete with nine dancing USO girls whose bodies spell out "U S A" — proves no one wants to take their foot off the gas. It could easily be the 11 o'clock number in any other musical... Stroman keeps the action flowing flawlessly — and her actors moving through an impossibly complicated world — and clearly knows when to let the beauty of the moment simply shine. She captures the magic of the original story and has created some undeniable magic of her own."
in Associated Press by Mark Kennedy

THE SCOTTSBORO BOYS

Directed and choreographed by Susan Stroman
Open: 10.03.2010 - Off-Broadway / 31.10.2013 - Broadway / 18.10.2013 - London
Photos by Carol Rosegg, Richard Termine, Sara Krulwich and Paul Kolnik

To see videos of this production go to “The Moving Picture Show”

           

“The production, guided with elegant simplicity by director-choreographer Susan Stroman, unfolds with rapid fluidity on a stage that scenic designer Beowulf Boritt outfits with a dozen chairs and a few boards, which are inventively rearranged to represent a variety of locations. And, as lit by designer Kevin Adams, the illusion of shifting from boxcar to jail cell to sun-filled courtroom is complete... such as in "Electric Chair," in which the youngest of the accused (a remarkable Cody Ryan Wise) imagines his demise; this sequence is also a highpoint of Stroman's inventive choreographic work.”
in Theatremania.com by Andy Propst

"...“The Scottsboro Boys” is a masterwork, both daring and highly entertaining, and director/choreographer Susan Stroman (“The Producers”) has given it the best production possible at the intimate Vineyard Theatre. The book (by David Thompson), score and staging are so organically linked, you can’t imagine one without the others... Using only some chairs to suggest a train, a jail and a courtroom, Stroman follows minstrel conventions to tell the story. Juxtaposing deep emotions and often exaggerated gestures, she creates a mood that feels straight out of Brecht and Weill...Paradoxically, this makes the piece feel incredibly modern. It’s certainly more provocative than most self-consciously “edgy” rock musicals, as the creative team and its fearless, irreproachable ensemble constantly push the audience to the brink of discomfort -- while dishing out one catchy number after another."

in The New York Post by Elisabeth Vincentelli

"Directed and choreographed with dazzling verve by Susan Stroman, the show uses the minstrel tradition as a destabilising narrative device... Ms. Stroman offers some of her most effortlessly vibrant work since “The Producers,” exploiting a minimal set by Beowulf Boritt — a series of girdered prosceniums and an array of silver-painted chairs — to conjure the airy freedom of train travel, the claustrophobic terrors of prison and the raucous atmosphere of the courtrooms. Although the show’s momentum is hampered by both its essential singularity of tone and the tortuous history of the court cases, the production remains dynamic, thanks in no small part to the dauntless energy of the terrific cast, all fine singers and dancers."
in The New York Times by Charles Isherwood (Broadway production)

"...The minstrel-flavored routines that propel the narrative tend to lack the sharp, savvy ear of Kander and Ebb’s period pastiche numbers in earlier musicals (or the wit of Ms. Stroman’s winking choreography for “The Producers”). And you may find yourself thinking of more trenchant and imaginative use of minstrel-show devices by other artists, including the Wooster Group (with its black-face “Emperor Jones”) and Kara Walker (whose cut-out paper silhouettes are brought to mind by a shadow-play sequence)..."

in The New York Times by Ben Brantley

“Director and choreographer Susan Stroman, who learned about staging a taste-challenged musical with “The Producers,” is in top form here... With little more than ragged costumes, a handful of straight-back chairs and a few planks and curtains (the minimalist costumes and set are by Toni-Leslie James and Beowulf Boritt, respectively), Stroman fills the tiny Vineyard stage with razor-sharp vaudeville dancing and, with musical director David Loud, soaring music, some of Kander and Ebb’s best."

in bloomberg.com by Jeremy Gerard

“... under the inspired direction and choreography of Susan Stroman, such minstrel conventions as the interlocutor (sort of a Dixie-tinged master of ceremonies) and two comic sidekicks called “endmen” are put to good use in conveying the story told by book writer David Thompson... The show is scenically spare, but the lack of clutter gives Stroman more room to maneuver on the small Vineyard stage. A lineup of chairs — plus maybe a few tambourines — are all she needs to get “The Scottsboro Boys” to move.”

in SFGate by Michael Kuchwara

“In addition to riveting material and toe-tapping songs shot through with wry humor, the Vineyard Theater premiere also benefits from a tremendously talented cast of song-and-dance men, from music director David Loud’s luscious vocal arrangements, and from the muscular staging of directorchoreographer Susan Stroman, working at the top of her game... Every song has a purpose, and even in the most buoyant explosions of Stroman’s period-flavored choreography, dance is fully integrated into narrative in a show that packs dazzling physicality onto a small stage..." 
in Variety by David Rooney

“...Stroman’s staging tumbles with a clownish grace that is often mesmerizing. Although a few of the numbers are extraneous to the narrative build of this two-hour, intermission-less show, most have an impressive showbiz-flair. You may hate yourself for enjoying these incongruously up-tempo songs, but they’re not easy to dismiss..." 

in Los Angeles Times by Charles McNutty (Broadway production)

“Rarely have I been so irked by a Broadway show as I was by "The Scottsboro Boys," which has moved uptown after a much-praised Off-Broadway run. This musical, in which the story of a horrific miscarriage of racial justice is retold in the form of a Mr.-Bones-and-Mr.-Jones minstrel show, is one of the best-staged productions ever to come to Broadway. It is impossible not to be thrilled by the electrifying craftsmanship of Susan Stroman, the director and choreographer. The period pastiches of the John Kander-Fred Ebb score are cunningly wrought, and the ensemble cast, led by John Cullum and Joshua Henry, is as good as it could possibly be. (Mr. Henry, in particular, is surely destined for a Tony nomination.) The problem is that all this formidable talent has been enlisted in the service of a musical so smug that I could scarcely bear to sit and watch it...”
in The Wall Street Journal by Terry Teachout (Broadway production)

AWARDS

New York: Won the Lucille Lortel Award for Outstanding Choreographer. Outer Critics Circle Award nomination for Outstanding Director of a Musical and Outstanding Choreographer. Tony Award nomination for Best Director and Best Choreographer.

London: Olivier Awards nomination for Best Director and Best Theatre Choreographer.

HAPPINESS

Directed and choreographed by Susan Stroman
Open: 27.02.2009 - Lincoln Center
Photos by Paul Kolnik and Sara Krulwich

To see videos of this production go to “The Moving Picture Show”

“For a sweet little fable about the need to seize the day and savor each moment, the new musical HAPPINESS at Lincoln Center's Mitzi Newhouse Theater sure packs a lot of pizzazz. It's the product of a dream team: book by John Weidman, music by Scott Frankel and lyrics by Michael Korie (of Grey Gardens), and direction and choreography by Tony Award winner Susan Stroman. While the foremost pitfall of an exercise of this sort, beyond miniaturizing major themes, is the tendency to sappiness, the creators and their superb cast skirt both dangers with unceasing snap and polish…"

in theatremania by Sandy MacDonald

“You, it seems, have been caught inside an intermission-free, 1 hour 50 minute singing version of one of those whimsical, metaphysical fantasy novels that dominate the best-seller list around Christmastime and tend to have “heaven” in their titles. Well, that or a particularly preachy episode of “The Twilight Zone.”… But despite top-grade production values and a polished cast that loads every song with from-the-heart earnestness, HAPPINESS slumps into a funk soon after it begins… Ms. Stroman is the highly variable director and choreographer whose Broadway credits embrace both the bliss of “The Producers” and the clunkiness of “Young Frankenstein.” The dances in “Happiness” are few and formulaic, and include a boogie-woogie sequence (for the World War II memory) and a sarcastic paean to Wall Street materialism stylishly led by Mr. Foster."
in the New York Times by Ben Brantley

“Strangers in a New York subway car bound for -- who knows where? -- may not seem to be the most surefire bet for a musical… Yet HAPPINESS ,at Lincoln Center Theater’s intimate Mitzi E. Newhouse stage, does more than just offer 110 minutes of flawless, nonstop entertainment... Best of all, the painterly uses to which Stroman puts the stage, and her inventive choreography wherein certain fresh steps and holds eloquently convey happiness. The subway car itself dances.”

in Bloomberg.com by John Simon

“The announcement for the frustrating new show HAPPINESS at Lincoln Center could be trimmed to "Stand clear." This is one musical ride that never leaves the station… Stroman, whose last effort was the short-lived "Young Frankenstein," fares better with setting the scenery in motion than with her cast. The train car twirls and lights up like an amusement-park ride, but her performers come off shrill… It's a given that "Happiness" will make you think about your own life, but more often you'll wonder when the final stop will arrive and the show will be over"
in Daily News by Joe Dziemianowicz

“It's easy to understand Stroman craving the freeing experience of crafting a small-scale, relatively off-the-radar show again after shepherding Mel Brooks' behemoths "The Producers" and "Young Frankenstein." But despite the best intentions of everyone involved, and the resources of Lincoln Center Theater, this underwhelming meditation on mortality doesn't resonate at all … But there's no real life onstage, either in the cardboard characters or the surprisingly tentative dance interludes… And try as Stroman might to get some emotional momentum going, it never really gels… Perhaps the show's fragility wouldn't have been quite so glaring in a more modest, bare-bones production. But nice as it would be to greet a new musical that has charm and originality, this one barely scrapes by on either count.”
in Variety by David Rooney

“But at least Weidman and director/choreographer Susan Stroman -- in their first joint outing since 2000's "Contact" -- strive to engage with our city's very fabric… And the first half-hour largely pays off. Swiftly redeeming herself from "Young Frankenstein," Stroman stages a kinetic number, "Just Not Right Now," in which she simultaneously introduces all the characters and immerses them in the hectic flow of a typical city morning. She nails it again with the swinging 1944 flashback "Flibberty Jibbers and Wobbly Knees."… After that, the dancing inexplicably subsides and the show settles into a predictable rhythm as each character strolls down memory lane. And I mean strolls: HAPPINESS feels too long at an intermissionless 110 minutes.”
in the New York Post by Elisabeth Vincentelli

“Oh, dear. As if the MTA didn't have enough trouble, here comes "Happiness" - Susan Stroman's disappointing new musical about nine New Yorkers stuck in a subway car… Stroman - also known as Mel Brooks' favorite director/choreographer - seems intent on making a show without much dancing this time. The subway car (sets by Thomas Lynch) does move, as do the becoming costumes (by William Ivey Long)… "
in newsday.com by Linda Winer

“… a new American musical not based on a source in another medium. All of which makes it frustrating to report that, unhappily, HAPPINESS falters… Weidman, forced by the conceit into a predictable structure, adeptly disguises it. He's helped by Stroman's virtuoso staging, which turns an inherently static situation into a kaleidoscope of shifting perspectives, with assistance from Thomas Lynch's motorized set, Donald Holder's acute lighting, and Joshua Frankel's projections.”
in backstage.com by Erik Haagensen

AWARDS

Broadway: Outer Critics Circle Awards nomination for Outstanding Choreography and Outstanding Director of a Musical.

YOUNG FRANKENSTEIN

Directed and choreographed by Susan Stroman
Open: 08.11.2007 - Broadway
Photos by Paul Kolnik and Sara Krulwich

To see videos of this production go to “The Moving Picture Show”

"…A good deal of the credit also goes to director-choreographer Susan Stroman, who works her magic just as she did with "The Producers". Not the least of her many bright inventions is an 11 o'clock number she joyfully builds around Irving Berlin's interpolated standard, "Putting on the Ritz," where she shows off the tamed monster (a comically braying Shuler Hensley) and an accompanying chorus in top hat, tails, and platform boots. Although that extended turn is the tuner's pinnacle -- and puts the amusing but slighter Brooks score in the shade -- cute-enough numbers are handed around to the troupe of scene-stealers sharing the stage and immensely enjoying themselves.…Brooks loves clowns, so it's no surprise that he and Stroman keep this rowdy collection singing and dancing sufficiently well to get patrons as happy as Transylvanians learning that Victor Frankenstein has gone to his reward.” 
in theatremania.com by David Finkle

"...and the music is carried along by the hilarious lyrics and Stroman's exuberant staging. …The director-choreographer's formidable skills are best illustrated in such numbers as "Roll in the Hay," in which she uses the long limbs of Sutton Foster (as the comely assistant, Inga) to riotously lascivious effect, and the show's centerpiece, Irving Berlin's "Puttin' on the Ritz." The latter number, here the showstopping equivalent to "Springtime for Hitler" from "Producers," has been greatly expanded from the film version, with the elaborately comedic choreography owing debts to such figures as the Marx Brothers and David Parsons.” 

in Hollywood Reporter by REUTERS   

"…Stroman has some inventive moments of choreography: boys and girls dancing -- but not exactly together -- in a number for Mullally with the quirky, anti-romantic title of ''Please Don't Touch Me.'' Or smiling peasants cavorting their way through a folksy routine called ''Transylvania Mania.'' …Still, they are not exactly the requisite delirium the best musical comedy can provide. Joy arrives when that Berlin golden oldie takes center stage midway through Act 2. Suddenly, this ''Frankenstein'' seems as young -- and as promising -- as its title.” 

in newsday.com by Michael Kuchwara

"Director-choreographer Susan Stroman has crafted zesty numbers in the monster mash "Transylvania Mania" and Irving Berlin's "Puttin' on the Ritz," expanded from the film. But nothing here even comes close to the outrageousness of her "Producers" coups of toe-tapping grannies with walkers or showgirls with wiener headdresses in "Springtime for Hitler." 
in Variety by David Rooney

“While staging these matters efficiently, director-choreographer Susan Stroman demonstrates little of her customary flair with the dances. The villagers' romp, the creature stomps and the movement of it all is surprisingly ordinary.” 
in nj.com by Michael Sommers     

“Well, unless you measure your pleasure in decibels. Even by the blaring standards of Broadway, “Young Frankenstein,” directed and choreographed by Susan Stroman, stands out for its loudness — in its ear-splitting amplification, eye-splitting visual effects and would-be side-splitting jokes…Ms. Stroman seems to take the show one joke at a time: land this gag, milk it for as long as possible and then mark time with some standard-issue ensemble dancing until you move on to the next." 
in The New York Time by Ben Brantley

“Everything a fan could want is present, and many of the most memorable lines take on new lives of their own, transformed into one song after another… Irving Berlin’s “Puttin’ on the Ritz,” a signature sequence in the movie, is here, but like every aspect of the play has been made larger than life, infused with a kind of magic not present in the original. It is this grandiose style that makes a Brooks/Stroman production well worth seeing, even if the tickets cost as much as half a month’s rent." 
in Fangoria  by Logan DeSisto

AWARDS

Broadway: Drama Desk Awards nomination for Outstanding Choreography; Outer Critics Circle Awards nomination for Outstanding Choreography and Outstanding Director of a Musical.