Roy Berko
The Beck show is a fine example of what happens when a fine script is staged by a talented director/choreographer, who has the fortune of finding a well-trained and talented cast. The enthusiastic audience left on an emotional high, humming and singing one of the many memorable songs of the score, realizing that there are those in the world of theater who constantly illustrate, “What I Did for Love!”
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
Amazingly, Beck managed to cull top triple-threats (singing/dancing/acting) from the region, many from local college and university musical theater programs. Director and Choreographer Christopher Chase Carter managed to recreate the essence of Michael Bennett's magical celebration of the nameless faces behind the spotlighted stars.
To see a full review of this show, read Howard Gollop's review here.
Mark Horning
Hopefully the five week run can be improved with a turn of a knob to boost up the sound quality, a heart to heart talk with the cast on “putting it all out there on stage” and a quickening of the pace during the slow periods. Adding a short intermission would not be a bad idea as well. Judging by the opening night audience reaction most in attendance seemed to appreciate the show but there is definitely room for improvement.
To see a full review of this show, read Mark Horning's Review here.
Dr. Yuko Kurahashi
On the bare stage with a distorted back-wall mirror, designed by Cheri Prough DeVol, is spectacularly lit by also Prough DeVol, using horizontal and vertical lighting beams. Although spotlights have occasional challenges, such as insufficiently lighting the person sharing their story, for example, the lighting is generally adequate and effective, reflecting each auditioner’s story—both individually and collectively—and underscoring key moments using varying tones and levels of intensity. As theatre scholar Christine Essin explains in her 2015 essay in Theatre Journal, “The sharp angle of the spots’ beams allowed the dancers onstage to easily step back and fade into darkness.” DeVol’s lighting followed the original design’s methods, with more advanced technology available today, underscoring real/past/imaginary realms alternately and poetically. The silhouettes of the 17 finalists are spectacular, reflecting the original Broadway show’s window card and album cover.
