Bill Kellert calls “Forever Plaid” “90 minutes of vocal liquid gold” in his review for Nippertown

“Together, they are a compilation of sweet, insecure, somewhat neurotic, and incredibly talented young men who have been given the opportunity to live out their one last dream.”

“Together, The Plaids give us 90 minutes of vocal liquid gold.”

“Smooth, silky, and joyful. Cody Edwards sets up most of the numbers. His strong lead voice carries the group through “Three Coins in The Fountain”, “Moments to Remember”, “Perfidia”, and “Catch a Falling Star” to name but a few.”

“John Hannigan’s deep rich bass offers depth to all the numbers and takes center stage with the “Sixteen Tons”/“Chain Gang” medley.”

“Kylan Ross’s soaring, crystal clear, pristine tenor shines in “Cry”, and Miles Yokom’s baritone continually rounds out the group’s sound throughout the show.”

“What makes this production work so well is a combination of Eric Shorey’s musical direction and Ashley Delane Burger’s choreography. Director James Barry has shown his ability as a secure director by allowing the music to be the star of this show.”

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J. Peter Bergman says “Forever Plaid” is a “most satisfying” production in his review for The Berkshire Edge

“If you’ve never seen this show before it is one not to miss, and if you’re a fan of the piece, James Barry has directed a smash hit version of it for the Mac.”

“Kylan Ross, by stepping back from lead roles into this ensemble work, has solidified his place as an emerging star of the company”

“Barry’s staging of the play gives all four men that special something that defines musical groups as special people who understand cooperation in the notes, and the choreography by Ashley DeLane Burger of their lives together is as special as their story.”

“costumes, designed by Claire Mezzetta, are delightful and a grand piano centered set design by Kevin Gleason is practically perfect in every way. Andrew Gmoser’s fun lighting gives the quartet everything they need and also provides subtle showcasing of music director Eric Shorey as needed.”

“This light comedy is both entertaining and thought-provoking and ultimately most satisfying. It’s a sweet and sentimental combination of a show and well worth devoting some time to as the summer season wanes and warps into Autumn.”

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Andrew Andrews says you will “enjoy every moment” in their review for Opplaud

“Covering more than a dozen songs from the fifties and a retro rendition of at least one from the early sixties, the four young men who have been frozen in time harmonize, croon and synchronize their steps…”

“You can almost smell the Brylcreem as the small but talented cast belts out one vocal harmony after another, with choreography that’s as tight and enjoyable as the singing…”

“anyone who came of age in the 1950s is sure to enjoy every moment of this performance…”

“For those of us who grew up in the era of Happy Days and Sha Na Na, plenty of songs are familiar enough to sing along…”

“the show’s greatest highlight is an amazingly-funny circus parody of The Ed Sullivan Show. Quoting Frankie’s passionate, accidental outburst, “It was good, dammit!””

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J. Peter Bergman says “Xanadu” will leave you “breathless” in his review for The Berkshire Edge

“The company does wonderful work on stage and off. The costumes designed by Angela Carstensen are often as silly as the story. Lighting by Andrew Gmoser highlights each of the
moments perfectly. Kevin Gleason’s sets capture the hilarity of the situation. The company of
nine players, some of them doubling their roles, are excellent.”

“Kelley is a lovely foil for the nonsense surrounding his character and Galorenzo and Pantazis are such delicious villains they should always be given the chance to play the bad guys.”

“Yancey entertains as always. Two of the muses (all sisters, remember) are hysterically played by Ricky Dobbs (Thalia, Muse of Comedy) and Patrick MacLennan (Terpsicore, Muse of Dance).”

“A wonderful choice to cover the difficulties of the transition from Summer to Autumn, I suggest that you get your tickets now, get to Chatham and indulge your entertainment needs with “Xanadu” while you can. It doesn’t play every night, but seeing Robin Campbell’s humorous take on modern-day’s man in relationship to the eternal values of the world is worth the effort.”

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Trixie Starr calls the production “A Gift From the Gods” in her review for Trixie’s List

“As a Gen Xer, I knew all the songs – I’m Alive, Suddenly, Magic, Evil Woman – you’ve heard them all before. The colorful costumes and dance routines are fantasmic! There’s an incredible tap dance routine by performer Tezz Yancey – based on the movie’s performance by Gene Kelly.”

“The multi-talented lead actress, Kira/Clio, played by Lucy Rhoades, can belt out a song, dance up a storm, roller-skate around a small stage, and squawk out an Australian accent with gusto!”

“Kudos to the set and costume designers, Kevin Gleason and Angela Carstensen, for a scene filled with life-sized Greek mythical characters, such as a white centaur with gold glittering hooves.”

“Singing, dancing, sets, costumes, and comedy – it’s all there at Xanadu – a gift from the Gods! Sweeter than ambrosia, Xanadu is a delight!”

“Don’t walk – skip jauntily – or better yet, roller-skate to the Mac-Haydn”

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Bill Kellert says “Xanadu” “pure comic camp” in his review for Nippertown

“Andrew Burton Kelley returns to the Mac stage, and it appears that this is the role he is clearly having the most fun with this season. Lucy Rhoades joins the Mac-Haydn family and fits right in. Kelley and Rhoades are a dynamic duo on stage.”

“Kira and Sonny are both very lovable characters. The actors filling the shoes, or in Rhoades case, the roller skates, are a delight.”

“Both possess strong voices, have great sense of comic timing and make their time on stage, which is almost nonstop, appear effortless.”

“While the sisters are all excellent, outstanding in the group are Ricky Dobbs and Rachel Pantazis as Thailia and Calliope.”

“Julie Galorenzo, Melpomene (the evil sister), is a joy to watch. She is clearly great at being evil. Her strong singing voice soars in “Evil Women”. It is her asides, mostly visual, to the audience that had the small but very appreciative crowd coming unglued at the show.”

“Tezz Yancey once again dazzles the appreciative crowd with his wonderful tap dancing ability.”

“Director Robin Campbell has elevated this mindless two hours to pure comic camp.”

“Choreographer David Tankersley and Music Director Bobby McCoy have worked together to present the best in eighties music and have us believe that we are all in the world’s first roller disco.”

“Andrew Gmoser’s lighting and Sean McGinley’s sound design fill in the voids beautifully in Kevin Gleason’s somewhat spartan set.”

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Andrew Andrews calls “Showstoppers” “tremendously entertaining” in their review for Opplaud

“Regular readers already know the high regard I hold for the Mac-Haydn, so it should come as no surprise that I found this year’s Showstoppers tremendously entertaining.”

“Opening with perfect choreography to “Rhythm of Life” (Sweet Charity) and closing with perfect harmony to “Seasons of Love” (Rent), the ensemble numbers sandwiched an uninterrupted stream of solos, each highlighting the individual talents of the performers…”

“Lucy Rhoades’ impeccable singing, dancing and acting in her delivery of “If I Were a Bell…”

“Showstoppers proves that the Hudson Valley can’t just claim a handful of highly-skilled performers—we’re full of them”

“proof-positive that you don’t need to head into Manhattan and pay twice as much for a showcase this enjoyable from a cast with this much talent.”

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J. Peter Bergman says “Showstoppers” lives up to its name in his review for The Berkshire Edge

“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.”

“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.”

“After much well-deserved cheers from the audience, Trevor Squiers sang “Forest for the Trees” from The Spitfire Grill, a 2001 off-Broadway musical. He moved us with its sentiments.”

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Bill Kellert says “Showstoppers” features “some of the most gifted performers” in his review for Nippertown

“The full cast opened the show with a stunningly choreographed number from Sweet Charity, “The Rhythm of Life”.”

“What Producing Artistic Director John Saunders has sandwiched between the two numbers is a most satisfying 70 or so minutes of some of the most gifted performers the theatre has had the pleasure to present.”

“Music Director and Arranger Eric Shorey has led the house orchestra all season, as well as the productions with a deftness of talent. He has brought out the best in the performers all season and continues in this review.”

“Choreographer Holly Lauren Dayton is a truly amazing talent. Whether she was moving around a cast of 20+ on the stage, or a duo, trio, or quartet of dancers, she has made them all shine brightly.”

“Julia Hajjar’s “Love You Didn’t Do Right By Me” from White Christmas was the torch song highlight of the show.”

“Tezz Yancey, who combined adlib-ed commentary putting together a song from objects the audience held up, to his amazing tap dancing, gave the audience the total package.”

“That being said, the overall company at Mac-Haydn this season has been incomparable to any previous season. It appears every year that John Saunders has assembled a group that, on the whole, has topped the talent showcased previously.”

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Jeannie Marlin Woods says The Full Monty is full of “terrific energy and joy” in her review for Berkshire On Stage

“Under the direction of Todd Underwood, the large and talented cast of THE FULL MONTY takes on the challenge and embraces the exhilaration and desperation of the characters with terrific energy and joy.”

“Standouts in the cast are Julia Hajjar as Georgie, Monica M. Wemitt as Jeanette, Erin Spears Ledford as Vicki, and Holly Lauren Dayton as Pam. All strong singers and actors, these women fully realize the dimensions of their characters, bringing warmth and affection…”

“Dean Marino plays Dave wholeheartedly and he and Gabe Belyeu as Harold particularly shine in the touching song, “You Rule My World.”

“Best of all was the big (and well-balanced) sound of the orchestra under the direction of Emily Croome.”

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J. Peter Bergman recommends The Full Monty in his review for The Berkshire Edge

“the glamorous Monica M. Wemitt… lifts the play out of its dramatic doldrums and into the world of comedy at its best. Wemitt is a professional who delivers funny lines with humor and sings her big solo number, “Jeanette’s Showbiz Number,” with delightful energy and a tongue-in-cheek delivery that stops the show cold.”

“Dave’s wife is beautifully portrayed by Julia Hajjar.”

“James delivers an excellent and moving performance as does Marino.”

“I do recommend this play at the Mac, and hope that loads of people get to see it in its three-week run, the longest of their daring season.”

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Trixie Starr calls The Full Monty “phenomenal” in her review for Trixie’s List

“The acting, choreography, and singing, as with every Mac-Haydn production, does not disappoint.”

“Xander James’ rough and tumble swagger and voice is a crowd pleaser, as well as Tezz Yancey’s intro dance number…”

“The singing is phenomenal, with instrument accompaniment or as an all-male a capella troupe.”

“As the experienced show business matron, Monica Wemitt’s performance is hilarious. She’s a funny comic relief to all the male energy on stage, and her delivery is spot on!”

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Bill Kellert says The Full Monty is an evening of “great fun” in his review for Nippertown

“Director Todd Underwood has done a wonderful job juxtaposing the light and the dark of his performers. He has brought shades of gray and color beautifully onto the stage.”

“Choreographer Elizabeth McGuire returns to the Mac stage and does amazing work with her large cast. She transforms the mismatched group of men into a united dancing team by the show’s end.”

“Yancey captivates from the moment he appears on stage, his comic timing, and incredible dancing moves have the audience right in the palm of his hand.”

“All of the talent on the stage, and it is chock full, is tied together under the tutelage of Music Director Emily Croome.”

“The love song, “You Rule My World”, Marino shares with Mac mainstay Gabe Belyeu as they each sing to their respective spouses is one of the shows moving emotional high points.”

“It is wonderful to have Wemitt back where she belongs.”

“The Full Monty is an evening filled with laughs, some tears, high energy and great fun. And to boot, you see the most anticipated finale in theatrical history.”

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Jeffrey Borak calls The Full Monty a “determined…downright exhilarating production” in his review for The Berkshire Edge

“It’s been a while since Wemitt has appeared onstage. She hasn’t lost any of her prodigious skills. She fleshes this character out with tiny moments — a gesture, an unexpected extra beat, all in the service of her character and the show. She looks to be having the time of her life.”

“Belyeu is touching as Harold”

“exuberantly choreographed (by Elizabeth McGuire) musical occasions, large and intimate — especially the first act finale, “Michael Jordan’s Ball;” the poignant “You Rule My World,””

“a determined — at times downright exhilarating — production at Mac-Haydn Theatre”

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Andrew Andrews calls A Call to Places an “enjoyable evening” in their review for Opplaud

“Whether you’re a first year guest of the Mac-Haydn Theatre who only knows the actor from his recent roles… or a long-time attendee who remembers him as Nicely Nicely in Guys and Dolls and Gomez in The Addams Family… you know that Gabe knows how to put on a show. And you know the man can sing!”

“If you already know Belyeu’s work, then attending this show is like dancing in your seat to a familiar regular performer at the local dive bar, or watching a favorite artist on MTV Unplugged. If you don’t already know what he’s capable of, then catching this production in like strolling into a random night club and discovering a new favorite. Either way makes for a enjoyable evening, so don’t miss one of the two remaining performances of this very limited run.”

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J. Peter Bergman calls A Call to Places “one of the most satisfying hours in the theater this summer” in his review for The Berkshire Edge

“The show is beautifully lit by designer Kevin Gleason.”

“Musical director Eric Shorey leads a four-person ensemble in his own, superb arrangements of the songs Belyeu and Saunders have chosen.”

“One thing that makes this cabaret special is the confessional aspects of Belyeu’s story… Songs and revelations work hand-in-hand here and leave us very satisfied. We have enjoyed the man, the performer and the wonderful combination of the two.”

“If you don’t know him, this is your opportunity. If you’re a fan then this will secure your acts of following him through the years. Whatever brings you to the Mac-Haydn for his final two performances of “A Call to Places” you will be satisfied that he gives you his all and more.”

“This will remain one of my most satisfying hours in the theater this summer.”

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J. Peter Bergman calls ‘Next to Normal’ some of the Mac-Haydn’s best work in his review for The Berkshire Edge

“This is the show that director John Saunders has brought to vivid life and it is one of the best shows he has ever presented at this theater. I guarantee you will be moved and motivated by
this six-character extravaganza. I guarantee it.”

“…the stage superbly designed by Emma Cummings.”

“Mawande-Spytek is the best she has ever been…”

“Kirkpatrick is wonderful as Diana. She sings with fervor over her troubles and her attempts at understanding what has happened to her and her lovely voice makes it difficult to believe she has been so thoroughly under siege.”

“Van Tielen makes us understand how hard it is to be kind to someone who takes emotional risks to the cliff’s edge. He also has a fabulous voice…”

“This is (Belyeu)’s finest work at the Mac-Haydn since his Man of LaMancha.”

“The physical production is stunning with some of Andrew Gmoser’s most dynamic and
illuminating lighting design. Bethany Marx’s costumes create their own revelations for these
characters. Caitlin Maxwell’s wigs flesh out characters nicely.”

“Conductor Eric Shorey and his five member music ensemble play the score so well you would think they were born to play it.”

“This is one of my favorite shows, one I never anticipated seeing at this theater. I am so glad they chose to do it. I think everyone should see it, and maybe even twice.”

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Bill Kellert calls ‘Next to Normal’ ‘a breath of fresh air’ in his review for Nippertown

“This play is so next to normal from anything you have come to expect from Mac-Haydn, and it is a breath of fresh air.”

“Kirkpatrick’s majestic voice carries with it all the nuance and emotion that Diana is living.”

“Van Tielen’s interpretation beautifully tempers Dan’s otherwise clawing, overly cheerful upbeat character. His vibrant singing voice adds much to his characterization.”

“Belyeu manages to inhabit two completely opposite characters both physically and emotionally, such that when he returns to the stage he is almost unrecognizable until you hear his voice. He does a phenomenal job in the dual roles.”

“Mawande-Spytek shines as she moves through a series of complex emotions, from hate and resentment, to maturity and a realization of what life has put in her path.”

“Kelly struts his stuff as the ever-willing, caring boyfriend longing to simply understand and provide support and compassion for his girlfriend.”

“Kylan Ross brings a maturity and depth of performance to this role, running the gambit of emotions from A to Z, that we have not seen from him until now on the Mac stage.”

“This entire production has been wrapped as a stunning gift presented to the audience inside Emma Cummings scenic design, with Andrew Gmoser’s beautiful lighting design, Bethany Marx’s costumes, Caitlin Maxwell’s wigs, Eric Shorey’s music direction, and the Next To Normal band.”

“This production is flawlessly presented under Saunders’ directorial tutelage.”

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Barbara Waldinger says “Next to Normal” us an unforgettable production in her review for Berkshire On Stage

“Director John Saunders has shepherded an exceedingly gifted cast and crew in a moving, sensitive, haunting production that will not soon be forgotten by those who are fortunate enough to see it.”

“The difficult vocal demands of the music are met by the strong, expressive voices of each member of the cast.”

“From the opening number to her dramatic final exit, Beth Kirkpatrick’s Diana commands the stage, taking the audience with her on an emotionally-wrenching journey.”

“Eric Van Tielen is her extraordinarily patient and loving husband Dan, whose sweet tenor voice and demeanor underline his helplessness and vulnerability in the face of Diana’s rage and suffering.”

“This exquisite production should provide an impetus for all the theatres that dream of taking risks but haven’t yet found the courage to do so.”

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BroadwayWorld‘s Marc Savitt praises “Next to Normal”

“In their promotional materials for NEXT TO NORMAL, Mac-Haydn, advised it would be “unlike anything you have seen on our stage. Trust us when we tell you, this show is not to be missed.” I am very happy to say they were correct. This production is phenomenal.”

“The cast of six includes Beth Kirkpatrick as Diana, Eric Van Tielen as Dan, Amber Mawande-Spytek as Natalie, Kylan Ross as Gabe, Andrew Burton Kelley as Henry, and Gabe Belyeu as Dr. Madden. Each is highly skilled, well cast, and deliver near flawless performances as does the orchestra, and the creative team.”

“To those who might hesitate and think that a musical centered around mental health might be too far away from “normal”, I suggest that “normal” is a setting on a clothes dryer. I respectfully add: get over it, and see this phenomenal production while you can!”

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Jeffrey Borak says “Next to Normal” ‘Raises the Bar’ in his review for The Berkshire Eagle

“powerful, confident, riveting production”

“Director John Saunders’ production comes at its audience with a style, self-assurance and poise that raises an already high bar at the Mac-Haydn.”

“Kirkpatrick delivers a brutally honest portrayal of a woman trying to do her best navigating several worlds that collide into one another.”

“Van Tielen is profoundly affecting as a loving husband doing the best he can to hold his head – as well as those of his daughter and wife – above water.”

“Saunders, his cast and music director Eric Shorey and the other five members of his six-member music ensemble are more than up to the challenges. The limb they all have climbed out upon shows no sign of falling. They do themselves proud.”

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Matthew Moross calls Kiss Me Kate “a scorching good time” in his review for The Daily Gazette

“Kiss Me Kate is a must-see”

“Axtell and Lustig are superb. Axtell’s rich baritone sails through “Were Thine That Special Face” with glorious color while Lustig offers a very lovely, wistful take on “So in Love.” Together the pair are wonderfully dynamic in the playful shared memory of “Wunderbar.””

“Filled with youthful energy, the production is sprightly directed by Erin Spears Ledford and well-choreographed by Bryan Knowlton.”

“There are many moments to praise and point out. There is Lucy Rhoades as the simmering sexpot Bianca, nailing Porter’s classic “Always True to You Darlin’ in my Fashion.”

“Harrison Asher Smith as Bill Calhoun, who is just one of the objects of Bianca’s affection, who scores big with his character’s declaration of devotion, “Bianca.””

“And there is Jared Martin as Paul, who brilliantly leads the cast as they rip the roof off of the theater with the standout moment of the production, “Too Darn Hot,” at the top of Act 2. The staging, lighting and energy from the cast in just that number alone, is well worth the price of admission.”

“One of the best productions I have seen at Mac-Haydn in quite a while.”

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J. Peter Bergman calls ‘Kiss Me, Kate’ “another triumph for the Mac-Haydn” in his review for The Berkshire Edge

“All of the principals have their motivations and director Erin Spears Ledford has used those
needs subliminally to make the show a more dynamic examination of love’s complications when
other needs are paramount. It works.”

“These well-defined characters live out their conflicts, both external and internal, on the Mac-Haydn stage and stop the show with their songs while they do it. All four actors perform their special material extremely well and that keeps the familiar songs inside the show where they belong.”

“Lustig’s classically trained voice sets off her ballads well and gives her that extra oomph she uses to make “Wunderbar” and “I Am Ashamed That Women Are So Simple” into extraordinary moments.”

“Axtell sings the difficult character list songs with a simplicity that seems next to impossible. His Petruchio is softer than many actors before him but this works for his Fred.”

“Others in the company who add to the show’s success are Nina Laing as Hattie, Jared Martin as Paul and Jordan Bunshaft and Jonah Hale as 1st and 2nd Man, those little gangsters who stop the show more than once with their comedy song “Brush Up Your Shakespeare.””

“Technically the company has put together a beautiful show. Bryan Knowlton’s complicated choreography is delightful. Music Director Emily Croome and her six musicians do well by Porter’s music. Daniel Hewson delivers excellent 1940’s costumes. Andrew Gmoser has provided excellent lighting design work as usual. Caitlin Maxwell’s hair design is perfectly period as well.”

“It literally has something for everybody: music, story, dialogue that takes you by storm, dancing that leaves you breathless. The company is as strong as the principals. It is another triumph for the Mac-Haydn.”

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Trixie Starr calls ‘Kiss Me Kate’ stellar in her review for Trixie’s List

“I have always been amazed by the costumes at the Mac-Hadyn – Kiss Me, Kate is no exception. The colorful Italian Renaissance outfits were stunning, well-designed, and flawless. Even the actors’ wardrobes, wearing next-to-nothing, in “It’s Too Darn Hot” were perfect!”

“The performances by leading cast members, Meredith Lustig as Lilli Vanessi (Katherine) and Michael Axtell as Fred Graham (Petruchio) were stellar!”

“The young, scantily-clad performers are an absolute pleasure!”

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Andrew Andrews says the production delivers in all elements in their review for Opplaud

“From its opening number (“Another Op’nin’, Another Show”) to it’s closing reprise (“Kiss Me, Kate”), this production delivers all of the spectacular song-and-dance that Mac-Haydn performances are known for.”

“Donning a thousand fine costumes over the course of the evening, the company is particularly entertaining when the lot of them take the stage for the larger dance routines…”

“the performance is delightful…”

“with vocals by Meredith Lustig (Vanessi) and the footwork during “Tom, Dick or Harry” (Lucy Rhoades, Harrison Asher Smith, Troy Wheeler and Patrick MacLennan) especially standing out.”

“Watching the choreography of “Too Darn Hot,” also, was too damn fun…”

“the cast and crew delivered all of the pleasure and professionalism that I’ve come to expect from a presentation at the Mac-Haydn, and I can hardly wait to return in a few weeks for their regional premiere of Next to Normal.”

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Macey Levin says Kiss Me Kate is “terrific” in his review for Berkshire On Stage

“The songs are pleasantly sung and the choreography by Bryan Knowlton is brisk and rollicking.”

“Lustig as Lilli has a beautiful voice which serves her and the production well especially for “So in Love.” Her acting is both expressive and subtle lending varying levels to her character.”

“Rhoades and Smith add immeasurably with their voices, comic timing and dancing as seen in “Why Can’t You Behave.””

“The various sets designed by Erin Kiernan are brilliant, especially the one for Shrew. The transformation from the backstage scenes to the set for Shrew, given the amount of set pieces that have to be removed and setting up the new set, takes only seconds maintaining the momentum. Andrew Gmoser’s lighting complements the spirit of the show. The seven-piece orchestra led by Emily Croome brings life to the myriad musical numbers.”

“Mac-Haydn does terrific work and this is a terrific show, especially to introduce younger audiences to a true American classic.”

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Jeff Borak calls Urinetown a “knock-your-socks-off” production in his review The Berkshire Eagle

“Not the stuff of your average Broadway musical but, then, there is nothing average or typical about this devilish, witty show, especially given the dazzling, sly, extremely savvy knock-your-socks-off production at the Mac-Haydn Theatre through July 17.”

“…Hope (a pitch-perfect Nina Laing whose singing voice is crystalline and who perfectly catches Hope’s ingenuous belief that everyone has a heart somewhere).”

“Director Trey Compton gets it, and how. There is just enough exaggeration, just enough self-awareness and tongue in cheek in Compton’s production but never more than that. Compton nudges boundaries without crossing them.”

“Mcguire takes full advantage of the space with choreography that is, by turns, tight and expansive; theatrical; stylish; totally in keeping with material that draws on “Urinetown’s” musical theater traditions while establishing its own personality at the same time.”

“Compton’s cast more than rises to the material’s occasion and Compton’s approach. The performances throughout are robust, full out.”

“Janet Dickinson brings a canny Dickensian-Brechtian flavor to her performance as Penelope Pennywhistle, who is in charge of Public Amenity No. 9, “the poorest, filthiest urinal in town.”

“Jordan Bunshaft is delightful as Officer Lockstock’s partner, Officer Barrel.”

“And, of course, there is the absolutely irresistible Sarah Chiu as Little Sally, a charmer who often gets right to the heart of the matter when others can’t.”

“Well, until there is a next time, there is this “Urinetown” here; now. It’s a dandy; an impressively smart, highly theatrical show packaged in an unspeakably smart, enormously entertaining production.”

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Lisa Jarisch calls Urinetown a “Winner of a Show” in her review for Berkshire On Stage

“a lovely treat to be enjoyed on a hot summer night”

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J. Peter Bergman “heartily recommends this show to all” in his review for The Berkshire Edge

“On the stage of the Mac-Haydn Theatre in Chatham they all shine brightly, almost blinding us with their unique talents and personalities.”

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Emily Edelman praises Director Bryan Knowlton’s work in her review for Berkshire On Stage

“Under the direction of musical supervisor David Maglione, the band never missed a note and were often joined on the risers by the performers, who sang to them, joked with them and made them part of the story.”

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J. Peter Bergman: “You Can’t Go Wrong” Seeing The Mac-Haydn’s Production of The World Goes ‘Round. Read his review for The Berkshire Edge

“I saw this revue in New York in 1992 and rode home on the 104 bus with its star, Karen Ziemba. This time, at the Mac-Haydn Theatre, I relived that experience and loved everything about this new, re-thought production.”

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J. Peter Bergman calls Man of La Mancha “stunning in so many ways” in his review for Berkshire Bright Focus

“Todd Underwood has directed and choreographed this show making the perfectly integrated work into one with a single vision. For the ultimate play-within-a-play experience this production is hard to beat, but the line is easy to follow as Underwood clearly understands.”

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J. Peter Bergman calls She Loves Me “a production to be proud of” in his review for Berkshire Bright Focus

“Director John Saunders has done a very good job with this special romantic comedy. He has employed a soft, delicate touch and not pushed sentiment in place of reality, a hard thing to make work in a musical like this one.”

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