Lisa Jarish says “The Marvelous Wonderettes” “sparkles and shines” in her review for Berkshire On Stage

“Each performer creates a strong, vivid and unique character in their own right, and tells her character’s story through the more than two dozen songs that flow virtually non-stop through the production. Their harmonies are as full as their crinoline skirts”

“Trivers delivers big-time with a trifecta of plaintive and heartfelt vocals…A most worthy debut on the Mac’s stage indeed.”

“Delivering her story through a stunning three-song Prestage reveals her character’s journey through love, heartache, and heartbreak, delivering “Son of a Preacher Man,” and“ Maybe,” with ever-increasing anguish, until finally “Leader of the Pack” shatters her heart and the hearts of her quartet-mates listening to this heart-wrenching, soul-baring vocal confession.”

“Rachel Pantazis…has left an indelible mark on this season with her glorious, powerful soprano voice and her in-depth characterizations”

“(Pantazis’) joy shines through with her performance”

“And then there’s Cydney Gleckner. What a joy she has been at the Mac this summer. She has brought her considerable vocal chops to every production she has graced this season, and as Suzy…she turns in yet another strong signature performance.”

“Gleckner brings down the house as Suzy first pours out her anguish with her marriage with “Maybe I know” and “Rescue Me”, before segueing into demanding “Respect” in a powerful rendition that rivals Aretha Franklin at her best.”

“Ashley DeLane Burger has hit it out of the park with her solid, tight direction and inspired choreography.”

“Annie Watson’s costume design perfectly captures the full flavor of 1950s and the 1960s…Their work is accented and completed by the hair and wig design of Emily Allen, who “Marvelously” coifs the Wonderettes for their prom and reunion appearances.”

“Andrew Gmoser’s lighting, as always, sparkles and shines in all the right places, and takes a dark and almost sinister turn when called for.”

(Saunders and Colarusso) have created a most effective and evocative set for the show.”

“The Marvelous Wonderettes leaves us applauding, smiling, humming, and with warm fuzzy memories of days gone by to hold onto until the 2024 season arrives.”

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Go To The Marvelous Wonderettes Page

J. Peter Bergman calls “Jersey Boys” “a fine, fine production on every level” in his review for Berkshire Bright Focus

“Maguire is an excellent Valli. He is a joy to watch and to listen to.”

“Kelley does splendidly in this role, even managing to touch my heart with his sincerity and his singing.”

“Watching the group grow in their varied and difficult directions is fascinating theatre.”

“Gabe Belyeu plays lyricist/producer Bob Crewe beautifully. Kevin Weldon makes a sinister, sentimental Gyp DeCarlo totally believable.”

“This production is fascinating to watch. Director John Saunders has given the show drive and energy and still made each character stand out as an individual. He and choreographer Ashley DeLane Burger have brought us the movement and coordination of pop music of the period with a true sense of recognition.”

“Both the play and the musical numbers look great on the Mac-Haydn stage thanks to scenic designer Alivia Cross whose work transforms spaces thanks to the superb lighting by Andrew Gmoser. Emily Allen’s hair and wig design highlights the period of the show as well as do the costumes designed by Claire Mezzetta. This is a fine, fine production on every level.”

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Lisa Jarish says “Jersey Boys” “explodes with perfection” in her review for Berkshire On Stage

“In Jersey Boys, Saunders has created another of his signature directorial triumphs, with a full-blooded, full-scale humdinger of a show, a good old-fashioned jukebox musical perfectly“seasoned” with incredible vocals and riveting performances, made all the more impressive and impactful because it is not “too good to be true” but actually true.”

“The Mac has assembled a veritable holy grail of performers to enact the title roles, and I have to confess I may have spent a good portion of the performance with my mouth gaping open, slack-jawed, in absolute awe of the perfection of sound coming from the golden throats of Conor Fallon, Andrew Burton Kelley, John Hannigan, Andrew Maguire.”

“The non-vocal performances of Fallon, Kelley, and Hannigan, each narrating their part of the story, are incomparable. Each embraces and truly personifies the character they represent, bringing a depth and veracity and sincerity to their roles that is essential to a fully-realized production.”

“without a doubt Andrew Maguire steals the show… in his Mac-Haydn debut, no less. As Frankie Valli, Maguire is nothing short of phenomenal, with a voice born to the role, hitting those iconic high falsetto notes with absolute purity and assurance.”

“Belyeu can always be counted to embrace whatever role he undertakes. His performances are unfailingly filled with the sheer joy of being given the opportunity to perform, to portray a character and make it his own.”

“Jacob Atkins plays Joey…AKA Joe Pesci …with an endearing hyperactive enthusiasm perfect for the character, and Kevin Weldon turns in a marvelous but all-too-brief appearance as New Jersey mob boss Gyp DeCarlo”

“Rachel Pantazis creates powerful moments in her scenes with Maguire’s Valli.”

“Kudos to choreographer Ashley DeLane Burger for her success in choreographing and coordinating the perfectly synchronized movements of legs and hands that came to be associated with the Four Seasons.”

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Bill Kellert praises cast AND creatives of “Jersey Boys” in his review for Nippertown

“Mac-Haydn’s Producing Artistic Director, John Saunders, once again takes the directorial reins to steer this mammoth production.”

“Saunders does an admirable job not only directing the show but also assembling a strong technical crew as well as a talented cast of Mac-Haydn vets and newbies to help achieve his goals.”

“Choreographer Ashley DeLane Burger does a wonderful job recreating the feeling of the 1960s.”

“With its many moving pieces, Alvia Cross’s set design creates thirty-some scenes in the first act alone. Andrew Gmoser’s lighting and Sean McGinley’s sound design put you in the vibe of the time. Emily Allen’s hair design and wigs and Claire Mezzetta’s costumes round out the rock and roll era and sweep the audience back in the time continuum.”

“Shorey knows how to get the most wonderful harmonies out of the foursome as well as create beautiful numbers from the full cast. Shorey has proven to be Mac-Haydn’s strongest creative asset, from leading the band to musically directing the cast.”

“Gaudio, who never really wanted to be in the spotlight, rather preferring the background writing music, is masterfully handled by Andrew Burton Kelly. Kelly has a wonderful ability to internalize his emotions in his acting and bring it all to the surface in his vocal performance.”

“Perhaps, as it should be, the night belonged to Mac newcomer Andrew Maguire as Frankie Valli. Maguire has a voice and range that match the real Valli, note for note. His crystal-clear tenor and icy steel falsetto brought down the house song after song, most notably with the heart-wrenching rendition of “Fallen Angel.””

“It should be noted that most of the cast doubles or triples roles throughout the production with ease and finesse.”

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Jeffrey Borak calls “Jersey Boys” “Breathtaking” in his review for The Berkshire Eagle

“Director John Saunders’ production of the jukebox musical “Jersey Boys” at the Mac-Haydn Theatre opens in breathtaking fashion and never lets go for an instant.”

“Beyond the smooth, confident sweep of Saunders’ production, the show’s recreation of The Four Seasons sound is at once astonishing, evocative, singular.”

“Close your eyes as the show’s Frankie Valli, Andrew Maguire, sings and you could easily believe Valli himself has taken over. Maguire’s performance overall is full and rich — an affecting portrait of a young man whose coming of age over time is roughly gained.”

“The performances throughout are strong and convincing.”

“Andrew Burton Kelley is pitch-perfect as Bob Gaudio, whose talent as a songwriter and personal sense of reason and clarity is the perfect counterpoint to Tommy’s lesser impulses.”

“Gabe Belyeu is delightful as Bob Crewe, the Four Seasons’ manager, producer and lyricist. There are equally convincing turns by Kevin Weldon as Gyp DeCarlo, a mobster who takes a liking to Frankie; Bella DePaola as Lorraine, Frankie’s second wife; and Rachel Pantazis as Frankie’s alcoholic first wife, Mary Delgado.”

“Buoyed by music director Eric Shorey’s support, and the bold, imaginative sweep of Saunders’ vision, this youthful, appealing, talented ensemble more than delivers the goods.”

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Go To The Jersey Boys Page

Lisa Jarisch calls “Godspell” “edgy, piercing, gritty, brilliant” in her review for Berkshire On Stage

“This Godspell, this gospel according to Compton, is an edgy, piercing, gritty, brilliant piece of theatre, certain to take its place as one of, if not THE, most stellar productions of the 2023 season.”

“Compton has taken the skeleton of the original piece and built an entirely new body of work, maintaining the integrity of the Gospel message while injecting new depths of meaning to the simple parables, stories and teachings that make-up the bulk of the production.”

“The songs remain the same, the plot most assuredly remains true to sharing the Gospel of Matthew, but this is singularly unique and masterful production, filled with contemporary references, exposing an occasional seamy underbelly of the beasts of betrayal, and overall offering gritty, sharp-edged, sometimes sharp-tongued lessons in life, love, and faith.”

“Stephanie Prestage gives the first of the disciple “solos” scattered like good seed through the show, delivering a beautiful rendition of “Day by Day,” probably the most recognizable song associated with the show. Her strong, pure voice swells with her newly-burgeoning love and desire to follow Jesus, and sets the bar high for all the solos to follow.”

“wherever each solo opportunity appears, it fits seamlessly into the production, elevating the high quality caliber of talent that bursts from this production”

“Fallon gives a bravura performance in his vocals and his acting, moving deftly from the enthusiastic first days as a preacher of parables, teller of tales and teacher of morals, to the tortured Son of Man approaching the end predestined for him as the Son of God.”

“It is always a joy to have Mac-Haydn favorite Andrew Burton Kelley grace the Mac-Haydn stage, and in his role as John/Judas he is in his element, giving glorious depth of voice to each and every lyric.”

“Fallon and Kelley have clearly embraced and taken their roles into their hearts, and their souls.”

“As has come to be the norm with virtually every Mac-Haydn offering, the technical quality of the production more than holds its own against the performances in every way.”

“Angela Carstensen’s costume design is, in a word, inspired.”

“Godspell at the Mac is a truly unique, brilliant, thought-provoking, cutting edge work of theater art.”

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Bill Kellert calls “Godspell” “stirring and moving” in his review for Nippertown

“Working with a small cast, every performer is given their moment or two or three to shine, and shine they do. Stephanie Prestage’s Day by Day is stirring and moving. Bella DePaola offers a gutsy, seductive rendition of Turn Back, O Man. Matthew Harper Stevenson offers up a very heartfelt Light of the World. Amber Mawande-Spytek, like many of the cast, returns to the Mac stage to offer her exceptional talents to the production. Jack Koch presents an exceptional We Beseech Thee.”

“Mac-Haydn vets, Conor Fallon and Andrew Burton Kelley have masterfully grabbed the reins of the two icons.”

“Conor Fallon never waivers as the Son of God. Well aware of the fate that awaits at the play’s end, he never loses the humanity of his character or the joy that inhabits his role. Fallon is much like the ringmaster of a very complex circus.”

“As a whole, this cast has risen to the complex simplicity that the show demands.”

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Jeffrey Borak calls “Godspell” “fulfilling and rewarding” in his review for The Berkshire Eagle

“Director Trey Compton and choreographer Elizabeth McGuire hold nothing back in their approach to John-Michael Tebelak and Stephen Schwartz’ “Godspell” at the Mac-Haydn Theatre. They are blessed with an able young ensemble whose members are more than capable of delivering the goods.”

“Compton has pulled out all the stops here with glitz, glamor and a hint of the flower generation in a vibrant, neon-disco-psychedelic setting (evocatively conceived by scenic designer Tania Barrenechea and lighting designers Eoghan Hartley and Andrew Gmoser) that encompasses the entire theater — onstage and in the aisles.”

“This Jesus (an accomplished, gently authoritative, world-smart Conor Fallon) delivers his message through a series of parables, which he coaxes the members of this small community to act out.”

“This evening is at its most fulfilling and rewarding when it is singing and when it is moving to McGuire’s savvy, wonderfully theatrical choreography.”

“Among the production’s highlights are Stephanie Prestage’s “Day By Day,” an object lesson in stage presence; Kassi McMillan’s brassy, belting “Learn Your Lessons Well;” Jake Koch’s lead in “We Beseech Thee;” and Fallon and Kelley’s playful duet, “All For the Best.””

“this “Godspell” manages to fill its two hours in buoyant, abundantly theatrical ways that are, when all is sung and done, all for the best.”

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Go To The Godspell Page

Lisa Jarisch calls “The Sound of Music” “sheer joy” in her review for Berkshire On Stage

“This is a production without a flaw. From the leading roles, to the briefest appearance of party guests and soldiers, not a foot or a note goes wrong.”

“The entire cast has clearly embraced the essence, the spirit and the meaning of this classic musical, and they put their heart and soul and not inconsiderable talents into every moment.”

“Naughton delivers each number, each note, each lyric, with absolute confidence, and it is clear that her debut at the Mac in this role surely is one of her favorite things. She radiates joy, confidence, poise, and assurance every moment on the stage.”

“If the performances of these young thespians who Saunders has collected are a portent of any kind, the future of live theatre is in most excellent hands and feet and voice with this next generation of up and coming performers.”

““Climb Ev’ry Mountain” is the soaring climax to Act 1, and is gloriously performed by Alex Haines as Mother Abbess. She enthralled the audience with her stunning delivery of this classic signature piece”

“With standard Mac-Haydn style and aplomb, the technical quality of the production is as noteworthy as the performances of the cast.”

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J. Peter Bergman praises the direction and vision of “The Sound of Music” in his review for Berkshire Bright Focus

“the show itself is wonderful, due in part to the Maria of Sarah Naughton who is terrific. Credit goes to an excellent cast and a marvelous director, John Saunders.”

“Emily Allen, Judith Wyatt and Amber Mawande-Spytek are an excellent trio and with the Mother Abbess, played by the superb Alexandra Haines they leave a stunning impression of theatrical professionalism.When Haines sings “Climb Ev’ry Mountain at the end of Act One it is a definitive showstopping moment leaving the promise of grand things to come.”

“Director John Saunders has melded all of these characters (and more) seamlessly and the show profits from his vision and his control.”

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Trixie Starr praises the cast of “The Sound of Music” in her review for Trixie’s List

“Sarah Naughton is a perfect Maria”

“Alexandra Haines, who plays The Mother Abbess, brings the house down with “Climb Every Mountain” – an immaculate performance”

“The Von Trapp children are AMAZING! They know every line, they do not miss a beat, and they are as young as eight-years old”

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Jeffrey Borak calls out Alex Haines’ Mother Abbess in his review for The Berkshire Eagle

“In a performance that is noteworthy throughout her time onstage for its truthfulness and emotional authenticity, Haines delivers “Climb Ev’ry Mountain” not as a showpiece but, rather, with the grace, wisdom and nurturing spirit that shapes the drama of the sequence. In that moment, those hills around the Mac-Haydn certainly do come alive.”

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Go To The Sound of Music Page

Jeffrey Borak praises ‘Footloose’s “efficiency and integrity” in his review for The Berkshire Eagle

“Under Ledford’s direction, Prestage and Stevenson take their time developing the relationship between Ariel and Ren. The two have a beautifully crafted scene on an old bridge, late at night, that is as gentle and delicate as choreographer Bryan Knowlton’s dance numbers are big, bold and athletic.”

“Stevenson’s Ren has an unadorned, natural freshness and ingenuousness tempered somewhat by his upbringing in Chicago. He is amiable and sincere”

“As Ariel’s father, the silver-haired Dvorsky resists an easy choice to play the reverend as stock caricature. Rather, Dvorsky delivers a touching portrait of a man who, crippled by personal tragedy, is troubled by the ways in which he has gone off his path”

“Liz Gurland is just lovely as the reverend’s witty, loving wife, Vi”

“Jake Koch is a delight as Willard Hewitt”

““Footloose” clearly knows its audience. The show achieves what it needs to achieve with efficiency and integrity to the formula. To its credit, the Mac-Haydn’s “Footloose” offers formula with enrichment. Let’s hear it for the team.”

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Romeo Barkley says ‘Footloose’ is “pure fun and joy” in the review for Trixie’s List

“Footloose is pure fun and joy! You can’t sit in your seat without tapping and bopping along. The high energy cast bursts across the theater’s stage from the very first musical note.”

“The music is easy to sing along to, but the dancing really zings.”

“The cast, music and choreography are so wonderful that you hope the show never ends! The joyful finale Footloose had people out of their seats and ready for a standing ovation!”

“Matthew Stevensen’s presence filled the stage…Stephanie Prestage’s Ariel transfixed the audience as she commanded the stage with utter professionalism and hit every dance move perfectly on cue.”

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Bill Kellert calls ‘Footloose’ “exceptional” in his review for Nippertown

“The Mac-Haydn production has assembled its largest cast, over 30 performers, each of whom is better and more talented than the next.”

“At the helm of this mega production are three enormously talented Mac-Haydn vets: Director Erin Spears Ledford, Choreographer Bryan Knowlton, and Music Director Eric Shorey.”

“Ledford takes the cast through life’s emotional ups and downs in Bomont. She reigns in the drama and plays to the humor while always having her characters appear three-dimensional. Knowlton’s tight, complex choreography is exceptional.”

“Vocally, the show is stolen by Kassi McMillan with her rendition of the classic hit, Let’s Hear It For The Boy.”

“Dvorsky is always a pleasure to see on the Mac stage. His commanding presence and strong masterful voice offer a wonderful facade for this broken man.”

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J. Peter Bergman praises the talent in ‘Footloose’ in his review for The Berkshire Edge

“Ariel Moore, played beautifully by Stephanie Prestage…”

“Rev. Shaw Moore is played with great style by George Dvorsky”

“Rusty, played by Kassi McMillan, one of three talented young women who serve as a sort of Greek Chorus in Act One”

“Mrs. Vi Moore is very nicely portrayed by Elizabeth Gurland whose Act Two song “Can You Find It in Your Heart?” is a highlight of the show.”

“The single set with large “pieces” designed by Erin Kiernan works well under the direction of Erin Spears Ledford.”

“The costumes designed by Bethany Marx give the show a timeless quality and look great.”

Go To The Footloose Page

J. Peter Bergman calls ’42nd Street’ “extraordinary” in his review for The Berkshire Edge

“With her talented company under John Saunders superb direction, Modic has created the most vital, vibrant and enthralling show of this type I’ve seen in years.”

“Most of the characters are “types” and they are played with honesty and gusto. Bella DePaola gives Anytime Annie strength and beauty while Jonah Hale’s Billy Lawlor presents ego without masking sincerity (he’s a tenor).”

“The show’s designers have given Saunders the perfect show he deserves.The wonderful scenic design by Erin Kiernan is gorgeously lit by Andrew Gmoser whose colors illuminate and elaborate the brilliant costumes designed by Bethany Marx”

“Saunders has assembled the best team ever at this theatre. This show is truly worth your time and money, folks.”

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’42nd Street’ is “everything a summer musical should be” according to Lisa Jarisch for Berkshire on Stage

“the Mac-Haydn Theatre offers up 42nd Street as its 2023 opener, and it is everything a summer musical should be.”

“Scenic Designer Erin Kiernan has admirably captured the essence of the era with her set.”

“Sometimes it’s lovely to be presented with a show that requires nothing more than your undivided attention to the talent on display, and that is exactly what Director John Saunders offers the audience, wrapped up in a glorious, joyous, pitch-perfect, choreographically-amazing package.”

“Perennial M-H favorite Gabe Belyeu is a quintessential Julian Marsh”

“In her Mac-Haydn debut, Rachel Revellese bursts onto the stage like the rising star Peggy Sawyer dreams of becoming. Her voice is as true and strong as her feet are fleet.”

“One of the best parts of watching a Mac-Haydn show is watching the ensemble revel in their part in the production; their passion for “the biz” is always a joy to behold, and in 42nd Street, it is on display to the nth degree.”

“Costumes by Bethany Marx are superb”

“(Saunders) offers up a rich, delicious feast of swirling bodies, flashing feet, and clever staging, using every inch of the now-extended stage space to it best advantage.”

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Bill Kellert says ’42nd Street’ “gets it right” in his review for Nippertown

“50+ years into their storied history, The Mac has long since learned how to get it right. 42nd Street is a testament to that.”

“Supported by the wonderful talent of Music Director Eric Shorey, the performers sing and dance with grace and fluidity.”

“Whenever (Stratton) is on the stage, you can not help but watch her draw the audience into her.”

“Belyeu commands the stage with his presence and self-assured attitude. His comic timing is spot on, and his rich voice fills the theatre.”

“An amazingly strong, talented, supportive ensemble rounds out this wonderful cast.”

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Jeff Borak tells audiences to ‘dance their troubles away” with ’42nd Street’ in his review for The Berkshire Eagle

“Mandy Modic has choreographed director John Saunders’ production with unbridled theatricality and creativity and their young cast responds accordingly.”

“Belyeu is convincing and stylistically on point as Marsh”

“Jonah Hale is endearing as Billy Lawlor”

“There is no moment on the Mac-Haydn stage when the attractive young members of this cast aren’t giving their all in those dance sequences”

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Go To The 42nd Street Page

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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Go To The Forever Plaid Page

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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Go To The Xanadu Page

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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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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