(Photo credit: Sacred Heart School for the Arts Facebook page)

There are numerous musicals which I feel never get the same appreciation as recently written shows. One of these, for example, is Crazy For You. A humorous 1930s musical about a novice banker, named Bobby Child, who aspires to be a dancer. He is sent to a small town in Nevada to foreclose on a theater but gets stopped short due to his growing admiration for a woman named Polly Baker, who is the owner’s daughter. In an attempt to woo her, he dresses up as the famous Bela Zangler and attempts to turn cowboys into stars. The show is full of silly side plots and random romance, making it an enjoyable production for all ages.

I recently experienced Sacred Heart’s production of Crazy For You, starring actors Maxwell Johnson (Bobby Child), Alice Calabrese (Polly Baker), Micah Drake (Bela Zangler) and many others. Sacred Heart’s musical choice was unexpected due to the fact it is an incredibly male-heavy show, and being an all girl school, they struggle with recruiting men from other schools. Their solution, of course, was to cast girls as boys which created a surprising, yet welcome, additional comedic effect.

There were multiple stand out performers but Alice Calabrese (Polly Baker) absolutely stole the entire show. The minute she opened her mouth, the audience was completely mesmerized; her voice was perfectly polished and had a classical tone that fit Gershwin’s music style perfectly. Alice hit every note with ease, blending her voice into the perfect combination of strong and charming. Her acting didn’t disappoint either, making it clear she understood the balance between honesty and maintaining the tone of such a goofy show. Her chemistry with Maxwell Johnson (Bobby Child) was undeniable, leaving every romance lover on the edge of their seat. 

Maxwell Johnson took the stage with a goofy yet charming interpretation of Bobby Child. His stable vocals helped ground his character and contrast Alice’s natural tone, adding an unexpected effect; his natural charm allowed him to execute the Zangler bits perfectly, causing the audience to suspend their belief of reality and fall happily into the ludicrous story line. Joshua Nazarkewich (Lank Hawkins) used dramatic physicality to carve out his character, with theatrical movements and bold vocal choices. Lank Hawkins was portrayed as the typical Disney channel villain, except with cowboy boots and a country accent.

Irene Roth, played by Sara-Frances Blevins, was brought to life with sass and confidence. In her number “Naughty Baby,” she controlled the stage, effortlessly mesmerizing the audience. Her relationship with Lank Hawkins was a surprise to all, showing to everyone that opposites really do attract. Joshua’s restless energy balanced out with Sara-Frances’ slow and sultry tempo, causing balance, naturally mellowing each other out for the better.

Although I wouldn’t find myself dying to re-watch this production of Crazy For You, it was a fun show with catchy songs and flashy numbers that leave the audience smiling as they leave the theater. I especially applaud Alice Calabrese and Sara-Frances Blevins for their stand out vocal performances. Unfortunately, Crazy For You at Sacred Heart is closed, but you can catch their next production, Clue, in late April of 2026. 

(Photo credit: Trinity DOTA Facebook page)

Something Rotten is a hilarious musical comedy that follows the story of two struggling writers during the Renaissance, Nick and Nigel Bottom, as they attempt to outshine Shakespeare’s work. This production had a plethora of comedic bits that were wonderfully executed, with an overarching message that reminded the viewers to both not take life too seriously and to follow your heart in times of struggle. 

High school theater, like any theater, serves its challenges; the entirety of your production relies on the talent of the current ever-changing high schoolers, making it impossible to deliver a constant production quality. No theater is immune to this, even Trinity, who is known for their strong and full productions. But where individuals may have struggled, the ensemble bound together to bring Trinity DOTA’s Something Rotten to life. 

From challenging dance numbers to well engineered harmonies, it was clear that every person on stage put an immense level of effort into their work. This was especially apparent in numbers such as “Bottom’s Gonna Be On Top” and “Make an Omelette” which both featured incredible tap numbers that wowed the audience from start to finish.  The female dance ensemble stood out with their strong expressions and sharp movements, truly proving there are no small parts, only small actors. 

Eden George (Portia), Everan McCartan (Nigel Bottom), Joey Paulin (Nick Bottom), and Benjamin Williams (Nostradamus) all stood out, providing wonderful comedic timing and strong energy. Eden George mesmerized the audience with her light and polished vocals, charismatic personality, and energized acting style that fit Portia perfectly. Her relationship with Everan McCartans’ Character (Nigel Bottom) was both believable and wholesome, showcased in their lovely duet “I Love the Way” where their physicality and commitment helped to set the tone of their partnership, encouraging the entire crowd to root for them. 

Everan McCartan was surely an audience favorite due to his big goofy energy and well thought out comedic timing. His acting was somewhat naturalistic while still managing to fit the over the top and caricature theme, creating an underdog that anyone could empathize with. He masterfully played the jokes written in, while adding creative bits, resulting in constant laughter from everyone in the house. Similarly, Benjamin Williams (Nostradamus) used dramatic physicality to keep the humorous tone; his vocals were clear and refreshing, making the number “A Musical” a definite showstopper. 

Joey Paulin played Nick Bottom wonderfully, with clear intentions for every action. There was never a moment where he wasn’t tuned in, ensuring audience engagement till the end. His chemistry with Anna Shmitt (Bea) was both believable and endearing, reminding us that true love can be shown in many ways. The set was minimalistic, causing the actors and live orchestra to be highlighted, drawing viewers’ eyes to the focus. 

Overall it was a heartwarming show about staying true to what you believe, with hilarious tid-bits along the way. I applaud the ensemble for their dedication that most definitely paid off. The production runs through March 15th at the Trinity High School theater; you can find tickets at https://www.trinitydota.com/ or at their door.

(Photo credit: JCC CenterStage Facebook page)

“Footloose: The Musical” is based on the 1984 cult classic “Footloose.” It follows the story of Ren McCormick, a rebellious high schooler who leaves his home in Chicago with his mom after his parents’ divorce. The two relocate to the small town of Bomont, where rock-and-roll and dancing have been outlawed. As Ren struggles to find his way in the small town he falls for Ariel Moore, the daughter of the town’s preacher, who has a wild streak of her own. The two join forces to show the town (and her dad) that music and dance can indeed be good for the soul.

As the price of putting a show on Broadway has skyrocketed, one emerging trend is to take a familiar favorite, put it to music, and hopefully fill the seats. Some have been done with great success, others not so much. Regardless where your preference sits, there is much to enjoy about JCC CenterStage’s production of “Footloose: the Musical.”

CenterStage has a long history of putting some of the best actors in the area on its stage. Typically, one of their shows each season features a very talented teen-heavy cast. “Footloose: the Musical” checks both of those boxes.

There were many performers who stood out, starting with William Paxton (Ren McCormick.) He wowed the audience with his dancing. His impressive array of backflips, handstands, and tumbles felt perfect in the midst of the Olympics. I’m pretty sure even the Russian judges would have given him high marks. He showed range by projecting in the rebellious rallycry “I’m Free/Heaven Help Me” while harmonizing a sweet, soft duet with Ariel (Olivia Haddox) in “Almost Paradise.”

Olivia’s vocal talent was ever-present throughout the show. Her powerful voice shined in “Holding Out For a Hero.” She displayed emotion and longing in “Learning To Be Silent” when she sang with the talented Jillian Cain (Vi Moore) and Ren’s on-stage (and WIlliam’s real-life) mother Alexis Paxton (Ethel McCormack.) Olivia’s acting was just as strong. This was best shown in her scenes with Frank Goodloe (Rev. Shaw Moore) as she transformed from an adoring girl following her dad’s religious ways to a strong woman forging her own path.

Ariel’s best friend Rusty (Leilani Bracey) is a bubbly, fast-talking, teen. Leilani portrayed her perfectly. Her endless energy and strong vocal range lit-up the stage. This was evident in her performance of “Let’s Hear It For the Boy.” As she pines for Ren’s best friend Willard Hewitt (Jackson Trowbridge) she went from lower soulful notes to belting-out exuberant highs.

Willard’s character is like a great dane puppy. Big, loveable, yet unsteady on his own feet. Jackson played him to perfection. His performance of “Mama Says (You Can’t Back Down)” might have been the show’s scene-stealer. Like his character, it was big, funny, and sung with great bravado and comedic chops. Surely his mama said, “bravo!”; the audience certainly did.

For a town that has banned dancing, they could have fooled the audience. From the opening number to the finale, the choreography was outstanding. Every cast member was energetic and in-sync as they “kicked-off their Sunday shoes.”

Lastly, I have to applaud the CenterStage set design team. The massive bridge served as an important backdrop in several scenes. It provided the perfect setting for Ren and Ariel as they opened-up and shared their painful pasts with one another. It was impactful.

“Footloose: the Musical” has shows on Thursdays, Saturdays, and Sundays through March 8 at the Trager Family JCC.

(Photo credit: Derby Dinner Playhouse Facebook page)

What happens when you shove six quirky middle schoolers, an ex-convict “comfort counselor”, a strange vice-principal and a middle-aged former champion into an amateur level spelling bee? Apparently pure chaos. The 25th Annual Putnam County Spelling Bee is a musical comedy about just that: six glory-hungry middle schoolers competing in a regional spelling showdown. Although it sounds straightforward, the bee is not without its challenges including magic foot malfunctions, pesky distractions, and so much more that fills the show with entertaining moments and plot lines. This show also features four randomly selected audience members who get the chance to participate and spell with the cast until elimination, providing an unexpected interactive aspect.

All of the actors on stage were incredibly talented and perfectly cast, especially the younger characters (played by adults) who immediately took on the physicality of middle schoolers from the moment they stepped on stage until their final bows. I was initially disappointed that I would not get the chance to experience the principle actor cast for the role of Leaf Coney Bear (Tai Rosenblatt), but his understudy, Nicholas Wills, brought high energy to his performance on a late notice and masterfully executed the character at hand. The principle performers took to the stage with excellent ability and clear understanding of their characters physicality and personality, especially Kate Drury (Logainne Schwartzandgrubenierre), Zachary Burrell (William Barfee), Kasey Kraft (Marcy Park) and Shaquille Towns (Mitch Mahoney).

Aside from her wonderful vocals, Kate set incredibly high stakes for her character that were reinforced by her two dads, causing everyone in the audience to root for Logainne’s success. Her energy was youthful and set a playful tone, causing Logainne to seem physically younger than the actor, as well as suspending the viewers reality and heightening their investment in a grade school spelling bee.

Another actor who demonstrated great embodiment of her character is Kasey Kraft, who played Marcy Park. With this role, it’s hard to find a balance between Marcy’s professionalism and the kid inside of her; many actors often struggle with making Marcy too serious. Kasey Kraft did not. She managed to embody the nature of an absolutely genius kid, and as her character arc progressed, it was interesting to peer into Kasey’s playfulness and inner child. Her song “I Speak Six Languages” was done with such ease that I’m convinced she could perform her track in her sleep.

To contrast this energy, Zachary Burrell, who played William Barfee (pronounced Bar-FAY), has an incredibly standoff-ish and awkward personality, with many strange quirks such as his “Magic Foot” which he uses to assist him on spelling any word thrown his way. Zachary heavily committed to this tense energy, bringing the characteristics of unnatural behavior to light and never once allowing the audience to drop attention. His vocalization in the song “Magic Foot” helped to reinstate the oddness of Barfee while highlighting Zachary Burrells’ technique and talent.

Lastly but most certainly not least, Shaquille Towns shone brighter than the winners trophy, especially when singing. The second he opened his mouth the whole audience was either hit with laughter or struck with awe. He brought emotional depth as Olives’ dad in the “I Love You Song” causing the audience to get a grasp at Olive’s home life. To contrast this, he played Mitch Mahoney with a great deal of humor, bringing comfort to the most troubled spellers and winning over the viewers in minutes.

Overall, The 25th Annual Putnam County Spelling Bee was a wonderful production, containing hilarious jokes and a look into the lives of quirky grade schoolers. I applaud Derby Dinner’s attempts to accommodate the production to the round, but I found that most of the numbers particularly favored the ‘front’ of the house, causing other sides to get a slightly diminished view of this amazing production. It is running at the Derby Dinner Playhouse until March 29th, with limited ticket availability, so make sure to get your tickets now!

(Photo credit: Ryan Grant – Timeslip Facebook page)

‘Jukebox’ musicals are not my first choice when it comes to seeing a show; the plot is often choppy and the original music style is very seldom respected. However, after seeing Jagged Little Pill at Actors Theatre, my opinion has seemed to slightly shift. Jagged Little Pill is a jukebox musical solely based on the iconic album released by Alanis Morissette in 1995 featuring rock songs such as ‘You Outta Know’ and ‘You Learn’. It follows the story of the ‘picture-perfect’ Healy family, unraveling their dynamic and revealing personal secrets, unveiling that they may not be as wonderful as they seem. 

Although some of the ensemble staging felt cluttered or unnecessary, most of the leads shone bright especially with their chemistry and on-stage connections. This was wonderfully exemplified by Katie Murphy (Jo) with jaw-dropping vocals that had the whole audience star-struck. Their grungy voice fit the vibe of ‘You Outta Know’ and ‘One Hand in My Pocket’ wonderfully, especially on the parts requiring belting. For this show, connections are incredibly important and Katie didn’t let us down especially with their love interest: Frankie Healy (played by Janaesja Beckham) a passionate activist dealing with racial alienation and sexual identity.

Jordan Price (Steve Healy) was especially tuned in not only with his wonderful acting style but his polished vocals as well, hitting every note with professional technique and perfect vibrato. Another stand out performer was Meagan Richardson (Mary Jane Healy) due to her naturalistic acting and impressive belting range. She handled the characters’ drug addiction with maturity without overselling it or making it cheap.

 Their son Nick Healy, played by Tynan Hillegas did an excellent job playing the ‘golden boy’ while still finding time to show moments of emotional baggage and stress, staying true to his character. Extra shout out to Danielle McKinny for her hilarious yet accurate portrait of the exhausted English teacher. And where the ensemble lacked in the flow of their staging, they made up for in wonderfully blended harmonies, especially in the later numbers. 

At times, I would’ve liked to see a more detailed set but I understand the company’s choice to keep a barren stage; dealing with clunky sets during group numbers can be a large challenge. Overall, Time Slip’s production of Jagged Little Pill was impactful and thought provoking. 

Viewer discretion is advised due to topics of drug abuse, sexual assault and generational trauma; the recomended age for viewing is 16+. You can catch this production at Actors Theatre, running from January 30th to February 8th

(Photo credit: Amy Dodrill – Bunbury Theatre Facebook page)

As a director, it’s important to understand the balance between ‘too much’ and ‘not enough’; to know when you’re crossing the line, or barely pushing the boundaries, especially when dealing with a show such as Spring Awakening. The original off-broadway production debuted nearly 20 years ago and contained intense subject matters such as abuse, abortion, rape, mental health and more. It follows the story of teenagers living in Germany in the late 1800’s as they navigate puberty, sexuality, and identity, ultimately revealing the dangers of sexual stigmatization.

I was worried, after learning about Bunbury’s production starring local teenagers, that these ideas would be downplayed and misrepresented but I was happily proven wrong. I had the pleasure of seeing both casts, making it impossible to pick out just one favorite performer, but there were some definite stand outs such as Sophie Mudd, Anna Schmitt, Bailey Evans, Harper Taylor, Finnegan Broyles, and Everan McCartan.

It was interesting to see how the separate performers played the same role differently. For example, Anna Schmitt’s (Wendela) strong and expressive vocals created powerful imagery causing the character’s message to be driven into every audience member’s mind. Her naturalistic acting style especially stood out to me, shining bright in scenes that required a deep connection with others on stage, and creating an emotional yet relatable Wendela.

Harper Taylor (Wendela) took a softer approach, using lighter vocals to execute Wendela’s more sensitive emotion, highlighting Wendela’s more playful and curious side. The actors handled the role with grace and maturity, wonderfully bringing the character to life. Their chemistry with Finnegan Broyles (Melchior) was both believable and raw, especially with Anna and Finnegan, who constantly bounced off of each other, almost as if an imaginary ball of energy was being passed back and forth between them.

Melchior, the rebellious yet intellectual rebel, was played by Finnegan Broyles. The majority of his songs were beautifully executed, his impressive vocal technique stunning the audience, creating a picture perfect Melchior. The actor’s calm and smug demeanor added charm, providing a harsh contrast to Melchior’s best friend, Moritz, a spastic and anxious individual who struggles to cope with the harshness of their society. Everan McCartan did a lovely job representing this character, not only through his bold acting but strong voice as well. His songs such as ‘The Bitch of Living’ and ‘Don’t Do Sadness’ were sung with an urgency, further demonstrating the personality and anxiousness of his character.

Last, but certainly not least, Both Bailey Evans and Sophie Mudd shone bright as Ilsa, bringing powerful vocals and acting choices throughout the duration of the production. Bailey’s voice seemed almost perfectly polished, giving the entire audience goosebumps from the moment she opened her mouth. She had a free spirited energy that heavily complimented Ilsa’s character arc, and her honesty on stage helped to provide powerful connections with her fellow actors. Sophie Mudd shared this wonderful dynamic, bringing a strong amount of chemistry with her scene partner, Everan McCartan, demonstrated in their touching duet ‘Don’t Do Sadness/Blue Wind’ where her effortless vocals created a powerful yet emotional performance. Sophie’s natural acting style caused the audience to easily empathize with Isla’s hardships and deeply connect with her energy.

Overall, Spring Awakening was a shocking yet powerful production, starring some of Louisville’s most talented teen actors. Although the ensemble felt too large for the space at times, the hair-raising harmonies helped to ease crowdedness. You can catch this production of Spring Awakening through January 25, 2026 at Kentucky Center’s Mex theater.

(Photo credit: Dr. George Scott)

“Rent: the Musical” follows a group of impoverished, young artists trying to survive the HIV/AIDS epidemic that closely affects so many of their lives. But beyond that, it’s about love, community, and finding joy in the hardest of moments.

When I found out Redline Performing Arts was putting on this production (for the second time in their history), I bought tickets as soon as they were on sale. Redline as a company is known for their inclusivity and accessibility. This show is of no exception. The cast features performers of multiple different races and ages, proving that the arts really can be for all. I applaud this company for their constant efforts to make everyone feel included and welcome, no matter who you are, or where you come from.

The show was performed in the Kentucky Center’s Mexx Theatre, which is their intimate black box venue. When you first walk into the space, you can’t help but notice the unique position of the stage in correlation to the audience. The stage is set in the formation of an uppercase ‘T’, with the audience surrounding it on all sides. I was skeptical about the possibility of an obstructed view, especially for some of the un-raised seats. Although there were moments when this suspicion was proven correct, for the most part, I was able to enjoy the view without straining my neck or adjusting the position of my seat.

As soon as the lights dimmed, the performers flooded into every corner of the space, behind you, in front of you, and for some seats, right next to you, immediately creating an immersive environment.

I had high expectations for the opening couple of numbers, and as much as I hate to say it, I was slightly disappointed. The mics provided varying degrees of issues, pulling focus from the performers, and strongly affecting the vocal to orchestra ratio. The energy from the performers also started low. That was until they hit the number ‘Tango: Maureen” which brought up not only the energy of the actors, but the audience as well. From that point on, a majority of the mic issues seemed to be under control and the performers felt more charged than before. I was as if someone flipped a switch, suddenly turning everything up by 50 percent.

There were a few actors who seemed to be charged throughout the entirety of the musical, such as Ann Morgan Heath (Maureen Johnson), and Phillip Clemons (Tom Collins.)

Ann Morgan Heath had an excellent stage presence that demanded the eyes of the audience which she paired with insanely strong vocals that never once lost their magic. Her powerful energy fit the character of Maureen perfectly and wonderfully contrasted Tymika Prince (Joanne Jefferson), who had a controlled and organized energy. This was highlighted in the showstopper “Take Me or Leave Me,” which demonstrated the power dynamic of the characters’ relationships.

Phillip Clemons, who played Tom Collins, gave the audience goose bumps with every vocal. His voice was rich and deep, causing every one of his lines to get stuck in your head – even days after the show. I also applaud his ability to always stay in character; it didn’t matter if he was speaking or even if there was light on him, he was always locked in.

Overall, the moments that stuck with me most were the big ensemble numbers, especially in act two, such as “La Via Boheme”, “Seasons of Love”, and “No Day but Today.” The vocal blend of the ensemble was impactful, and the harmonies were always tight, causing constant chills.

I loved the message of this production and the way they shared it. And although there were a few bumps in the road, it didn’t pull an excessive amount of focus. Thank you to Redline for continuing to share such a powerful message in our current state; this production brings to life the very reason why the arts are so important.

(Photo credit: Zach Burrell)

Overall, I enjoyed this show, especially when the audience experienced an inside view of the sisters’ relationships and bonds. I would recommend reading the book or even a summary before seeing this production to help with following along in moments when diction/pace faltered.

Lastly, I would like to highlight the simple yet beautiful set; it didn’t remove focus from the action and helped immerse the audience within the story.

(Photo credit: StageOne Family Theatre Facebook page)

(Photo credit: Jack Masterson from the YPAS Facebook page)