1/4/2024 0 Comments Photo theater pro review![]() “Cute,” a very special piece of material, was delivered by Tezz Yancey, whose tap-dancing rightly produced an enormous round of applause. Choreographer Holly Lauren Dayton then led a group of dancers through showstopping medley of Bob Fosse show songs. Julia Hajjar sweetly offered Irving Berlin’s “Love, You Didn’t Do Right by Me” from “White Christmas.” Then Miles Yokom touched us even more with “‘Til I hear You Sing” from Andrew Lloyd Webber’s “Love Never Dies, the Phantom” … sequel. Dean Marino then gave us “Who I’d Be” from “Shrek, the Musical,” backed by Anthony Velez and Anna Langlois, both of whom sang their own solos later in the show. These are not very familiar songs, but the audience delighted in them. He moved us with its sentiments.Įmily Allen kept things beautiful with “Love Will Come and Find Me” from 2014’s “Bandstand” followed by “I Stole a Bus” from 2008’s “Bubble Boy,” joyously-almost triumphantly-sung by Ricky Dobbs. After much well-deserved cheers from the audience, Trevor Squiers sang “Forest for the Trees” from “The Spitfire Grill,” a 2001 off-Broadway musical. ![]() It was followed by “What Do I Need With Love?” from “Thoroughly Modern Millie” sung handsomely by Cody Edwards and “If I Were a Bell,” a comedy-ballad from “Guys and Dolls” adorably performed by Lucy Rhoades. It did, indeed, stop the show cold garnering as much applause as it deserved, for the company chorus sang it like an anthem for this theater’s works of arts. Director John Saunders and choreographer Holly Lauren Dayton opened the program with a chorus number of great complexity, and by coincidence one of my all-time favorites: “The Rhythm of Life” from Sweet Charity, a song not heard often enough. Photo by Ann Kielbasa.Īll told there are twenty-two musical numbers in this revue, some familiar and some unusual. But here each one of them gets a perfect moment alone on stage and well lit by Kevin Gleason to show what they can do, and how to stop the show cold. None of the “stars” participate, though enough of these fine performers have played standout solo roles in one show or another during the season. Once a year the corps, or core of the company, are brought out to perform the kind of songs that make the musicals at the Mac-Haydn shine. Directed by John Saunders, choreographed by Holly Lauren Dayton
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