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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