Displaying items by tag: Daniel Hurst

Andrew Lloyd Webber’s Cats remains one of musical theatre’s most distinctive creations - a sung‑through, dance‑driven spectacle that swaps traditional plot for atmosphere, character portraits, and pure theatrical immersion. Drawn from T. S. Eliot’s Old Possum’s Book of Practical Cats, the musical unfolds as a moonlit gathering of the Jellicle tribe, each feline stepping forward to claim the spotlight before the climactic “Jellicle Choice,” when one is chosen for rebirth into the Heaviside Layer – a new life. Its unconventional structure, eclectic score, and iconic choreography helped define the mega-musical era, earning Cats major awards and record‑breaking runs in both London and New York. And now it’s here!

To kick off their 2026 season, Music Theater Works brings Cats to the North Theatre in the North Shore Center for the Performing Arts, offering Chicago audiences a fresh trip into the Jellicle universe. It’s the perfect time to pounce on this legendary musical - whether you’re drawn by its nostalgia, its high‑energy movement, or the simple delight of watching a community of cats chase belonging and second chances.

Cats has always been one of my very favorite Andrew Lloyd Webber musicals, and revisiting it reminds me why. Its blend of atmosphere, movement, and character‑driven storytelling creates a world that feels both whimsical and strangely profound – a world that is so easy to get lost in.

What continues to give Cats its staying power is the blend of spectacle and emotional resonance. While much of the evening plays as a parade of emotionally grounded ensemble-anchored numbers - playful, mischievous, or grand - the heart of the piece rests with Grizabella (magnificently played in this production by Ava Lane Stovall), the faded glamour cat whose ballad “Memory” became a global standard. The production’s emphasis on movement, atmosphere, and immersive world‑building over traditional linear storytelling makes Cats both polarizing and unforgettable, and its decades‑long staying power proves just how deeply that approach resonates across generations. Music Theater Works captures that essence beautifully, channeling the show’s dreamlike logic and ritualistic energy in a way that feels both faithful and freshly imagined.

Astutely directed and choreographed by Mandy Modic, Music Theater Works makes inventive use of the North Shore Center’s intimate space, transforming nearly every nook and cranny into part of the Jellicle playground. The result is a production where activity seems to spark from every direction, creating a sense of constant motion that borders on ingenious. From the moment the show begins - after a playful prelude of cat videos on a large TV - the cast emerges in the dark, parading down the aisles with glowing cat‑eye glasses that immediately pull the audience into their world. Throughout the performance, strategically placed perches and platforms scattered around the theater keep the action mere inches away, giving some audience members the rare thrill of being fully surrounded by the Jellicle tribe. Though I’ve seen Cats countless times in both the Chicagoland area and New York, this production may well be the one that connected with me the most.

(Center) Ethan Lupp as “Rum Tum Tugger” and members of the cast of CATS in CATS from Music Theater Works, now playing through March 29 at the North Shore Center for the Performing Arts in Skokie.

Sam Nachison brings a commanding warmth to Old Deuteronomy, balancing authority with compassion and grounding the production with a rich, resonant baritone in his self‑titled number. Stovall, meanwhile, delivers a vocally commanding, show‑stopping “Memory” in Act II - an emotional high point that pierced my heart and gave me chills. But what truly elevates this production is how deep the talent runs throughout the ensemble. Whether it’s the big, full‑company showstoppers, the sly, feline physicality woven into every corner of the stage, or the sheer joy of numbers like “Magical Mister Mistoffelees,” the cast proves endlessly engaging. Group sequences such as “Jellicle Songs for Jellicle Cats” and “Journey to the Heaviside Layer” showcase a company working in complete synchronicity, creating moment after moment that dazzles. The memorable beats are as abundant as the cats roaming the theater, each one adding to a production overflowing with energy, precision, and charm.

Throughout the performance, I found myself drawn to different performers at different moments, captivated by their vocals, their movement, and the sheer feline energy they brought to the stage. The ensemble’s commitment was so complete that no matter where I looked, someone was doing something compelling, clever, or beautifully in character. That sense of constant discovery carried straight into the show’s physical feats - from aerial acrobatics to Morgan Schoenecker’s crisp tap breaks as Jennyanydots and even the unexpected skating sequences led by Danny Spagnuolo as Skimbleshanks - making the production a steady stream of surprises. Add in the constant, playful eye contact from cats prancing through the aisles, and every moment feels enchanting - alive with movement, mischief, and immersive detail.

Nick Johnson’s Munkustrap grounds the entire production with a steady, commanding presence, guiding the ensemble and shaping the rhythm of the evening. He moves through the show with an effortless authority - part narrator, part guardian - setting both the emotional and musical pace while keeping the Jellicle world anchored. In doing so, he opens the door for the production’s standout moments to land with even greater impact - and never far from that spotlight is Emma Jean Eastlund’s Bombalurina, slipping in with charisma and precision alongside the rest of the talented ensemble.

Ava Lane Stovall as “Grizabella” in CATS from Music Theater Works. Phots by Brett Beiner.

Another moment that stayed with me was John Cardone’s moving rendition of “Gus: The Theatre Cat.” As Asparagus, he delivers this bittersweet, nostalgic reflection of an aging performer looking back on the glory days of his career. The ache of the number comes from the gap between who Gus once was and who he has become - an actor with a shabby coat, trembling paws, and memories of a time when he was the “terror to mice.” Cardone leans into that fragility with such sincerity that the song lands as both a tribute and a quiet heartbreak.

And from that intimate moment, the production expands back into the vibrant world of the Jellicles. The cats themselves are incredible - brought to life with remarkable clarity thanks to the production’s outstanding creative team. Much of that magic stems from the meticulous work of hair, wig, and makeup designers Megan E. Pirtle and Melanie Saso, whose transformations give each performer a distinct feline identity, and from the richly textured costumes crafted by kClare McKellaston and wardrobe head Kristen Brinati, which add depth, personality, and visual cohesion to the entire tribe. Together, their contributions shape a world so vivid and fully realized that the characters feel as if they’ve stepped straight out of Eliot’s imagination and into the audience’s laps. Credit belongs to every corner of the creative team, from scenic design to sound to lighting, all working together to shape an atmosphere that feels nothing short of Jellicle heaven. Their combined artistry turns the space into a fully realized world - mystical, inviting, and alive with detail - so the audience is immersed from the moment the first cat appears. Every technical element works in harmony to envelop the audience in this moonlit world - sets that invite exploration, sound that wraps around the room, and lighting that shifts the space from mystical to electric in an instant. The result is a production that manages to be both haunting and joyfully alive, lingering in the imagination long after the final note.

What I appreciated most about this rich and colorful production is how it reflects the moment we’re living in. At a time when the world feels unsteady, we’re each our own special kind of “cat,” carrying unique talents and flaws, and offering up our personal histories - our triumphs and our losses to each other our fellow "cats" - as the curtain of world seems to be falling around us. Yet, in that shared vulnerability, we find the strength to realize that as long as we keep supporting one another, the light never truly goes out.

Purr‑fect, meow‑velous, pawsitively delightful, downright meow‑gical - take your pick! Every one of them fits this production like a cat in a sunbeam.

Music Theatre Works’ Cats is being performed at the North Theatre in the North Shore Center for the Performing Arts through March 29^th. For tickets and/or more show information visit https://www.musictheaterworks.com/2026-season/cats/.

Highly Recommended.

This review is proudly shared with our friends at www.TheatreInChicago.com.

“How do we keep our balance?”

Posed in the very first moments of Fiddler on the Roof, this question receives an emphatic answer – Tradition! – by way of a high-energy opening number that immediately transports the audience into the heart of the 1900s Jewish-Russian village of Anatevka. Yet, as the story unfolds, keeping our balance proves easier sung than done. The show follows milkman Tevye, his wife Golde, and their five daughters as they navigate love, family, faith, and the growing tension between honoring tradition and embracing change.

Wonderfully directed by L. Walter Stearns, Music Theatre Works’ production brought this struggle for balance to life with both humor and heart to North Shore Center for the Performing Arts.

Sam Nichison perfectly portrayed Tevye’s nuance and conflicting motivations, shifting from scene to scene. At times, his bitterness over poverty and hardship bubbled to the surface; at others, he offered moments of genuine warmth and authenticity with his family. Alongside him, Golde, played by Mitzi Smith, was his perfect match – grounded and witty, with tenderness beneath her no-nonsense exterior. Together, they perfectly anchored both their family and the story.

Standout vocals seemed to run in the family, as Tevye and Golde’s three eldest daughters (Tzeitel, Hodel, and Chava played by Madison Uphoff, Elissa Newcorn, and Madison Jaffe-Richter, respectively) were each showstopping in their own respects. “Matchmaker, Matchmaker” was one of the rawest numbers of the show; all three actresses sounded excellent while also selling the charm of a true sisterly moment.

Visually, this production did it all. The simple and flexible set design (Bob Knuth) transported us through Anatevka, shifting seamlessly from humble home to wedding venue to dreamscape. The lively feeling behind every scene, as well as the fluidity in these transitions, could not have been achieved without the townspeople. The ensemble didn’t just inhabit spaces on a stage – they made the stage their village, filled it with energy, and created a sense of community that stayed with you throughout the production.

The Bottle Dance Dancers: (L to R) Daniel Hurst, David Sommer, David Geinosky, Erol Ibrahimović and Alex Villaseñor, in FIDDLER ON THE ROOF, presented by Music Theater Works.

This sense of community was never more evident, however, than in the choreography. Under Marla Lampert’s direction, the musical numbers incorporated traditional Yiddish and Russian styles with the grandeur and expressiveness of musical theatre. The athleticism and precision needed for any of these styles cannot be understated, but Jake Mickel, Daniel Hurst, Alex Villaseñor, and Erol Ibrahimović deserve special praise for their performances as Russian dancers. “Sunrise, Sunset” in particular radiated warmth, joy, and (yes) tradition, creating the true feeling of a Jewish wedding on stage. Achieving such a level of intentionality with a full ensemble on stage at once is hard enough, but Lampert was equally successful in conveying larger-than-life emotions in more intimate moments, such as in “If I Were a Rich Man” and “Miracle of Miracles.”

Musically, the pit orchestra was outstanding, but I’d be remiss if I didn’t shout out the titular character. The Fiddler’s (Emily Fischer) live violin stood out without needing to be up on the roof, adding an almost magical thread throughout the show. Sometimes playful, sometimes haunting, always essential; each appearance drew you in and made the village of Anatevca feel complete.

If there was one aspect of the production that occasionally pulled me out of the time and place, it was the moments of inconsistency in line delivery. The genuine connection across the cast shone through and added immensely to the show but occasionally tipped their quips and banter into a contemporary rhythm that felt a shade too casual for Anatevka’s early 1900s setting. It’s a small quibble in a production otherwise so committed to transporting the audience.

That said, what ultimately makes Fiddler on the Roof so enduring is its timeless resonance. You don’t have to share in Tevye’s traditions to understand the fear of losing something so precious, or the complex joy of watching someone you love – be it one of your five daughters or a friend – step into a new chapter.

The creative team understood the timelessness of this story deeply. In the final moments, the audience wasn’t just applauding strong vocals or impressive dancing; we were applauding our newfound sense of connection. Between the characters, the actors, and the audience. Between a century-old story and our own lives today.

Music Theatre Works' Fiddler on the Roof runs through August 17th at North Shore Center for the Performing Arts in Skokie. Tickets are available at www.northshorecenter.org/series/music-theater-works/.

*This review is also featured on https://www.theatreinchicago.com/!