An update on our COVID-19 Protocols for the 2023 SeasonSeptember 24, 2022
An update on our COVID-19 Protocols for the 2023 Season
After examining statewide, nationwide, and industry-wide policies, as well as recommendations from the CDC and local health departments, we are planning to lift our vaccination requirement for the 2023 season.
We are so excited to have reached the point where we can welcome each and every member of our community back into the theater again next year. We have greatly appreciated your compliance with our protocols for the past two years; we know the requirement has been challenging, restrictive and frustrating. Believe us when we say, we wish we didn’t have to do it. However, it is worth noting that we have managed to navigate the past two seasons with no cancellations or call-outs due to cases of COVID-19 within our company and crew in both 2021 and 2022. That’s right, zero.
At a time when it seemed impossible, your support and commitment to these protocols has allowed us to confidently and safely produce live theater during a pandemic – which is pretty incredible. We are so proud of our community and truly cannot thank you enough.
All that being said, we do not know what the future will bring and if there were to be an extreme change in the course of the virus leading to worsening conditions, we reserve the right to reimplement this policy if necessary. However, if our policies on vaccinations change and you are no longer able to attend, any tickets you purchase will be fully refunded.
As for our mask requirement, we are continuing to examine this policy and will make a determination closer to the beginning of next season. We will keep you updated on any changes, and will publish our final 2023 COVID-19 Protocols by June 1st, 2023.
In the meantime, stay safe, stay healthy, and consider getting your early bird tickets for 2023!
The Mac-Haydn Theatre COVID-19 Compliance Team
Forever Plaid is “90 minutes of vocal liquid gold”September 14, 2022
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.”
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.”
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!””
Xanadu a “Gift from the Gods!”September 10, 2022
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.”
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”
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.”
Showstoppers a “Tremendously Entertaining” ProductionSeptember 5, 2022
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.”
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.”
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.”
Spend Labor Day at the Mac-Haydn!August 20, 2022
Three Exciting Shows – Two Big Discounts!
While Labor Day is a sign of the end of summer for many, it means that Summer In September is just beginning here at the Mac-Haydn! In fact, we’ve got three big shows running Labor Day weekend – and we want you to join us to celebrate, and take advantage of our Labor Day Deals!
This Labor Day Weekend (Friday 9/2 – Sunday 9/4):
See any two of our productions for just $68 – that’s 25% off our standard ticket price.
See all three productions for $90 – 30% off our standard ticket price.
Call our box office at 518-392-9292 or click below to take advantage of this offer!
Please note, each package purchase will include a $5.00 convenience fee.
Heading to the Columbia County Fair this weekend? Show your ticket to our box office and receive $15 off your walk-up ticket to ANY performance of ANY production starting Wednesday, 8/31 through Sunday, 9/4!
Learn More About the Eligible Productions
Monica Wemitt Is Back On StageAugust 16, 2022
Monica Wemitt Back At The Mac!
That’s right, Monica Wemitt makes her grand return to the Mac-Haydn stage this week for the first time in three years! We caught up with Monica this week to chat about what she’s been up to in the meantime, and what it means to return to our stage.
Q: How excited are you to be back on stage at the Mac-Haydn?
A: Not only is it exciting to be on the stage, but to be able to work in this new configuration is so much fun!
Q: What have you been up to since you were last seen on our stage?
A: Aside from being the Covid Compliance Manager here at the theatre, I pivoted into doing audio books. It’s such a fulfilling job to be able to record, edit and master the tracks I record for these books. I also was the soloist at St. Mary’s in Waterford for period between Thanksgiving and Easter for the past two years.
Q: What was your most memorable role at the Mac?
A: Honestly there are just too many to list, but the ones that come immediately to mind are Miss Hannigan in ANNIE, Frau Blucher in YOUNG FRANKENSTEIN and Carmen in CURTAINS.
Q: Tell us about your role in “The Full Monty”?
A: That would be the role of Jeanette and she is amazing. Not one to pull her punches, a heart of gold, and quite a saucy way of speaking.
Q: What is the most exciting part of being in the cast of “The Full Monty”?
A: To be in such a fun show. The music is great, the script is really well-written and to be performing with this cast is a real honor, and of course to be working with Todd Underwood (Director) and Lizzie McGuire (Choreographer) who give everyone the liberty to create.
Next to Normal called ‘Phenomenal’August 5, 2022
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.”
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.”
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.”
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!”
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.”
Introducing the “Pay What You Can” InitiativeAugust 2, 2022
Pay What You Can
On August 7 at 7pm, The Mac-Haydn will be hosting our first-ever PAY WHAT YOU CAN performance!
From its inception in 1969, the Mac-Haydn has made accessibility to the arts a core focus of our mission. We believe that equity and inclusion start with access. With our highest ticket price at $45.00, we set the cost barrier lower than any other professional musical theater producer in the region.
However, we want to do more to provide access to the experience of live theater, which is why we’re introducing the PAY WHAT YOU CAN initiative. For one night only, ticket prices don’t exist – you decide what to contribute to attend the performance.
PAY WHAT YOU CAN will start during our run of the Pulitzer Prize winning musical Next To Normal on Sunday, August 7 at 7:00pm.
Patrons who wish to PAY WHAT YOU CAN may do one of the following:
Call the box office from 3pm onward on Sunday, August 7.
Visit the box office from 6pm onward on Sunday, August 7.
For the remainder of the season we will offer a PAY WHAT YOU CAN performance for each Mainstage show. Details of that performance will be released closer to the performance date.
Please note that this performance will have a limited number of tickets available for the PAY WHAT YOU CAN initiative. Patrons MUST PROVIDE PROOF OF VACCINATION and photo ID upon entry. MASKS ARE REQUIRED FOR ALL PATRONS.
If you would like to contribute to the continuation of the PAY WHAT YOU CAN initiative click here to subsidize a ticket for someone else.
Chatham, NY 12037
Box Office: 518-392-9292
Critics Call ‘Kiss Me, Kate’ a ‘Triumph’July 22, 2022
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.””
“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.”
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.”
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 young, scantily-clad performers are an absolute pleasure!”
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…”
“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.”
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.”
“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.”
Critics Call Urinetown a #1 ProductionJuly 9, 2022
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.”
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”