Hamilton Takes His Shot in NOLA's Saenger Theatre

Mamma Mia! is a Period Piece that has Become an Ageless Classic

In 2001, Mamma Mia jump started a new form of writing plays by creating a storyline around a musical oeuvre. Untested at the time, its success has spurred many less successful Broadway musicals in its wake around a similar format. But 24 years later, the reception of the Saenger Theatre audience opening night solidifies its place as the best in show. Why does this play continue to be the gold standard in this genre? One word: ABBA.

The comedy revolves around naive bride-to-be Sophie (Amy Weaver) eager to have her unknown birth father give her away by inviting three men who could potentially be her dad to her impending wedding—all without her mother's knowledge. Each having had brief romances with her mother Donna (Christine Sherrill), any of whom could be her father. Risky topic at the time, it had the potential of a stage farce that could easily go badly with disapproving audiences. However, as the tenuous plotline was built around the popular music of ABBA, considered classic disco-rock even then, the show was an instant hit even before the opening curtain on Broadway in 2001.

Now older than Sophie's character, the show is seemingly ageless. Although much of the time period needs to remain set around the turn of the millennia due to the 20-year nostalgia of the musical era, this is cleverly defined by Donna and her gal pals, Tanya (Jalynn Steele) and Rosie (Carly Sakolove), having previously formed a band called Donna and the Dynamos before Donna's unexpected pregnancy. Not only does it explain the close bond between incredibly (and hilariously) different women without dialogue but reinforces the plot's structure.

It's All Greek to Us

The setting on an island in Greece is not as arbitrary as it seems. For the lovers of Greek mythology, there are subtle (and not so subtle) nods to Greek tragedies within its humorous plot line. The show is told with characters in threes—Sophie and her two best friends (Haley Wright and Lena Owens), Donna and her Dynamos, and then, of course, the three possible dads: Sam (Victor Wallace), Bill (Jim Newman), and Harry (Rob Marnell).

Less subtle references include the fates, goddess of love Aphrodite, and the Greek gods themselves. Donna's band represents goddesses Hera, Amphitrite, and Persephone. Donna's three flings are the equivalent of Zeus, Poseidon, Hades—see which woman winds up with which to figure out who each represents. And most obviously, the show opens with Sophie and her friends' sirens song calling the men to Greece which creates havoc when encountering her unwitting mother and friends.

Although it slows down for a bit in the second act with lamenting ballads of heartbreak, this production of Mamma Mia! may be the best show of the Saenger's already strong season. All actors' voices are exceptional through the entire cast, an everyone brings a believable energy level of excited friends who've not seen each other "for too long," with energetic dance numbers—especially a wonderfully slapstick dance in full SCUBA gear—and spot-on non-verbal acting, all impressive for a stage performances.

Take a Chance on Me

But even with that, Steele's Tanya and Sakolove's Rosie still manage to standout and steal scenes. Incredibly, the three potential "sperm donors" are the only cast members who have Broadway experience, with Wallace having played the role of Sam in the show's New York run. That experience allows these supporting actors an impressive level of professionalism and skill to not eclipse the leads and effectively contribute to the show without overshadowing the stars.

But to be real, the true—and maybe most important—stars of Mamma Mia! are Benny Anderson and Björn Ulvaeus, the ABBA masterminds who wrote the music and lyrics that fuel this show. It was their international success as a band and, later, with the London musical Chess in 1988 (remember "One Night in Bangkok" making the rock charts?) that gave them the street cred that this show would ever work. If anyone thinks they do not know ABBA's 1970s hits, go and either remember that you do or become a new fan as so many millennial patrons do.

And how the music holds up is evident as the show concludes with what may be the longest and most fun curtain call in Broadway history, which turned the sold-out Saenger Theatre into a full-blown dance party—don't leave early!

Mamma Mia! is at the Saenger Theatre through Sunday, February 16.

Shakespeare in Love?

If you are in the mood for a musical version of the classic Shakespeare Romeo and Juliet, initially most minds would point to West Side Story. But a new interpretation with a 21st century spin on the age-old classic is at the Saenger Theatre right now in & Juliet.

It starts off with a unique way of retelling the story from the point of view of William Shakespeare (Corey Mach) and his wife Anne Hathaway (Teal Wicks). Many puns are made on her name during the show, and they are having a disagreement on the story of the play. So Anne steals his infamous quill and proceeds creating a retelling of Juliet's (Rachel Simone Webb) journey had she lived and Romeo died. Escaping her oppressive family with her handmaid Angelique (Kathryn Allison), Anne (who wrote herself into the story) and her best queer friend May (Nick Drake) go to Paris to find themselves and the love that they choose for themselves.

This is all told in the very popular jukebox music style with pop music from across the recent millennia ("Oops I Did It Again," "Teenage Dream," "Since U Been Gone," "I Kissed A Girl," and more). Initially, this might seem to be lazy on the creator's part, but it's purpose is quite entertaining—and more powerful to experience these songs sung in full Broadway voiced ferocity. The theme overall is definitely women's empowerment, with Anne constantly pushing for Juliet to make her own choices in life and most of the songs echo the female empowerment message.

SPOILER ALERT AHEAD: Where For Art Thou, Romeo?

William eventually takes back control of the quill and brings Romeo (Michael Canu) back to life to add quite an unusual love triangle to the story now that Juliet has already stumbled upon someone she already considers a new love interest. After a deep discussion between Anne and William, they finally come to the conclusion that Romeo and Juliet can be together. It's just that the character of Romeo was a flawed character and needed to understand that he needs to want what's best for his star crossed love Juliet. When she hears that he has matured into a thoughtful man, she agrees to not rush back into a star cross romance and instead to take things one day at a time and start to date him, thus ending the play with a positive feminist message of a woman taking control of her life and love.

All The World's a Stage

The production included a pretty stark stage. However, many video screens behind the stage were utilized and props would come down to illuminate and take you from Verona, Italy, all the way to Paris, France—all the while keeping you in a feeling like you're in a pop concert setting with many large stage lights. It is reminiscent of the style of Moulin Rouge, good or bad.

The musical showcases very talented dancers and stage performers performing some nostalgic choreography to these throwback pop anthems.

Highlights of the show include Juliet's maid, who definitely brought several comedic moments. Additionally Juliet's friend May pretty much stole the show with comedic one liners and stunning vocals. May's vocals were probably the best in the show. However, Juliet's vocals were very powerful, especially in the finale of the Katy Perry anthem "Roar."

Is this a very serious and heart wrenching version of the Shakespeare classic? No, it is not, nor does it try to be. Definitely do not go into the show overthinking it or expecting high drama. The many deaths and sadness are removed from the original tale.

But those familiar with these "classic" songs—maybe even those who aren't familiar with them, as well—are definitely in for a good night at the theater. These songs all transcend generations on many levels, after all. It's a clever and fun show that allows for some fun while being exposed to a little bit of literary history while reliving pop tunes that many audience members clearly love and cherish.

It is light hearted with a positive message for adults of all ages—never settle when it comes to life and love.

& Juliet performances at the Saenger Theatre run through Sunday, January 19.

The Cher Show makes audiences "Believe"

The Cher Show at the Saenger Theatre performed beyond expectations and some audience members were "blown away" by the opening night show at the Saenger Theatre beginning a week-long run.

It was a brilliant way to chart Cher's life—portrayed by three different actresses at different eras of her life and career, Star (her current megastar persona), "Lady " (the start of her solo career), and Babe (early career). Many going into the show I expecting more of a jukebox musical were quickly disabused of that preconceived notion. It is truly an in-depth, dramatic look at one of America's iconic female performers. But the bio-play keeps her joy with the bright pop of campy Cher fun all know sprinkled throughout the portrayal of her life.

Starting off the show is Morgan Scott (Star) using Cher's ultimate anthem "If I Could Turn Back Time" as a passageway to look back on her life and career. Ella Perez is the initial incarnation of Cher (Babe). She really brought the innocence that is probably not your first thought when Cher comes to mind.

Audiences really get to see how she transformed from an ugly duckling into a star. Her first love is singer Sonny Bono (Lorenzo Pugliese). Sonny is definitely the spark that ignites this timid songstress into the outspoken star and icon Cher is known as today. Pugliese's vocal performance was one of the highlights of the show, especially their duet of "I Got You Babe".

Enter Catherine Ariale (Lady) the next incarnation of Cher, she really shows vocal range and emotional depth as Cher's stardom skyrockets and ultimately falls. But as Morgan Scott (Star) sings in "You Haven't Seen the Last of Me" has the star comeback with a vengeance.

And the show gives the audience the crowd pleaser they were all waiting for when all three Chers sing in harmony "Believe".

This show definitely allows for all three Chers (Scott, Ariale, and Perez) to shine in their own right. Their stirring performances and impressive ability to capture the superstar's intonations had the audience walking out singing along to their favorite Cher hit songs, continuing to prove Cher's contribution to music still stands the test of time across generations.

The Cher Show will run at Saenger Theatre through Sunday, December 22.

'Tis the Season to Be Jolly

Buddy the Elf brings joy and laughter—and more than a few songs—to the Sanger Theater this week in Elf The Musical. This Broadway musical version of the beyond-expectation hit film comes to New Orleans in a well-timed kickoff to the holidays season.

Many patrons doubled down on the opening night by attending the show as a nightcap following the lighting of the Roosevelt Hotel lobby, which was worthy of Buddy the Elf himself. But even without pre-gaming the show, many fans streaming into the Saenger's decked halls brought their own holiday cheer. The audience on night one set the tone for what will surely be the norm for this run—wearing festive garb, elegant dress, and, of course, elf hats with elfen ears.

The play, based on the wildly popular 2003 film starring Will Farrell as Buddy the Elf (played by Jackson Reagin on stage in this musical adaptation), follows much of the movie's plot line with clever pivots to make the live production more nimble and engaging, to the delight of younger audience members. Expanding on the film's point that singing carols helps fuel Christmas spirit—which is what in turn powers Santa's sleigh—the play seems to single handedly want to illuminate its New York City setting without ConEd's help by infusing a litany of songs throughout the show.

The Elf Not on the Shelf

In Elf, Santa Claus (Mark Fishback) relates how a human orphan infant named Buddy accidentally stows away in Santa's sleigh and is raised by the elves at the North Pole.

As an adult, 6' 2" Buddy—who clearly does not blend in with his elfen community—overhears elves gossiping about his past and sets off to New York City in order to find his birth father Walter Hobbs (Ralph Prentice Daniel), who does not know Buddy exists. Buddy locates his father, but is confused by the cynical, demoralized, and stressed-out book publishing executive he discovers.

In turn, Walter is a man on the verge of being fired during the holiday season, who is mistrustful and a little more than concerned with the sanity of the full-grown adult who believes he's been raised by elves in the North Pole claiming to be his long-lost son. Worse for Buddy, he does not seem to have a shred of Christmas cheer to be found.

But Buddy's wide-eyed positivity is undaunted, knowing he can help his father find joy again. It is exponentially bolstered upon learning he has a half-brother Michael (Theodore Lowenstein) and a caring stepmother (Marie Lemon), who are delighted to welcome him back into their family, much to Walter's grumpy chagrin.

After innocently causing a career-ending catastrophe in his father's office, Buddy's angry dad kicks him out. He finds his people in a cast of department store employees working the Ask-Santa holiday set up. He initially clashes with the clearly fake Santa (Buddy knows the real guy), as well as sows suspicion in the paranoid people worried about their jobs, but eventually wins over the team with his boundless optimism and joyful attitude. Smitten with world-weary Jovie (Tara Nicole Vinson), his authentic self charms even her. She finds her disillusionment waning around him against her untrusting judgement.

Buddy gets to prove himself while saving Christmas when Santa's sleigh breaks down in Central Park. But can a city of broken spirits find their inner Christmas cheer again? Bet you a candy cane you know the answer already.

Do You Hear What I Hear?

While the film touched on some carols, the play takes the story to new levels with well-placed favorites and often enhance scenes in innovative ways. As a musical, the litany of songs is much more relevant to Elf's message that "the best way to spread Christmas cheer is singing loud for all to hear."

Elf clearly takes a mischievous glee in poking the bear, as well. Santa takes some swipes at the current state of the world and remembers to turn off his cell phone while telling the tale of Buddy because, as he reminds the audience," there's nothing worse than a cell phone ringing in the middle of a story."

Unfortunately, for the audience in the orchestra section, one inconsiderate patron did not catch Santa's obvious hint, continually allowing his cell phone to ping during the show—even taking a call—during the first act. Mercifully, he scampered out during intermission with his festively clad partner and never to return, spreading joy among the audience. He is no doubt on Santa's naughty list!

Reagin as Buddy does not look, sound, or act like Will Farrell, so his Buddy is refreshing and new. Yet, he manages to capture the essence and naïveté the role requires. In believably projecting Buddy's effervescent attitude in wanting to see people happy and spread joy, Reagin embodies what the show is about—spreading the Christmas spirit.

Other standouts are Tyler Price Robinson in two roles, playing the Scrooge-like publishing CEO Mr. Greenway and, to great effect and many laughs, the Macy's store manager.

Lemon and Lowenstein as the mother-son duo have strong voices and were amusingly animated through the production.

Not surprisingly, the songs were composed by Tony Award nominees Matthew Sklar and Chad Beguelin, whose Broadway credits include The Prom and The Wedding Singer.

The book, by Tony Award winners Thomas Meehan and Bob Martin, effectively reworked the film dialogue and plot points to be more aligned with a compelling stage production and not simply a rehash of the film on stage.

Unfortunately, several of the more memorably hilarious moments in the film that made it the irreverent comedy classic it became did not make the stage production, including the Central Park Rangers, a duet of "Baby, It's Cold Outside," and an "angry elf," but stage-appropriate changes offer sweet alternate plot points. Largely playing toward the younger audience members, the play has some wickedly funny lines and over-their-head scenes adults will appreciate.

Elf will spread Christmas joy at the Saenger Theatre in New Orleans through Saturday, December 7.

A subversive spectre from the '80s, Beetlejuice still hilariously haunts the Saenger Theatre

Stunning sets, snappy rapid-fire dialogue, surprisingly strong songs, and bold acting choices, Beetlejuice successfully elevates beyond its over-the-top slapstick origins into an impressive—and sometimes shockingly funny—stage musical. Opening the show by alluding to the catchy song "Dead Mom" lets audiences know immediately they're in for a wild ride.

When Tim Burton's visually lavish dark comedy was introduced to audiences in 1988, few would imagine the film's ghostly antihero would resonate so strongly with audiences over 35 years later. With the original movie's sequel crushing box office records last month, the Broadway show's opening night at the Saenger Theatre in New Orleans Tuesday night could not have been more well timed.

Deal With the Devil

The Faustian plot revolves around a self-described demon named Beetlejuice (Justin Collette) who wants to be in the real world. He plays off the naïveté of a newly-dead couple (Megan McGinnins and Will Burton) against the new owners of their former home—targeting bereaved daughter Lydia (Madison Mosley). In order to escape his tiny prison so he can wreak havoc in the mortal realm, someone needs to say his name, "Beetlejuice," three times. Three a guesses at what happens next, and they all rhyme with "Beetlejuice.".

Goth girl Lydia, mourning the recent death of her mother, relates all too well to the demented demon's anti-establishment underworld ideas. Blinded by her anger towards her father Charles (Jesse Sharp), who is quickly rebounding with the child therapist Delia (Sarah Litzsinger) supposedly helping the grief-stricken daughter while worming her way into the family, Lydia mistakes Beetlejuice for an ally in escaping her life—for Lydia, metaphorically; for Beetlejuice, in reality.

Because a marriage loophole allowing a ghost to remain in the mortal dimension when married to a living person, Beetlejuice manipulates the players—especially by expanding on the film's signature Banana Boat / Day-O puppeteering of the cast—before afterlife caseworker Juno (Maria Sylvia Norris) catches up to him. All done to hilarious effect to the delight of the audience.

"It's Showtime!"

Dodging some of the pitfalls that labored the film down somewhat, Scott Brown and Anthony King's book, infused with Eddie Perfect's music and lyrics, cut the fat from the film and streamlined the plot to work well on the stage. While many film-to-stage adaptations unsuccessfully try to recreate the movie on stage, Beetlejuice excels in evolving into a stand-alone Broadway musical independent of the cinematic source material, much as The Producers, Tootsie, and Mean Girls have.

Collette has a big a challenge recreating Beetlejuice in the shadow of Alex Brightman's Tony-award nominated turn when originating the role on Broadway—as Brightman had in the shadow following Michael Keaton's iconic movie role—but Collette clearly has the acting chops to deliver the consistent performance audiences expect in Beetleju— (oops, I better not)! He delights in embracing his mischievous character by frequently breaking the fourth wall to converse with the audience infusing the show with hilarious improv, including contemporary references (like a recent election), inappropriate jokes (asking the ages of children in the audience to make sure it's inappropriate), and insulting asides to the crowd while moving the story along.

Beyond Colette's wildly uninhibited fun bringing Beetlejuice to the Saeger, other standout performances include and Patrick Oliver Jones as paranormal fraud Ortho, Hillary Porter's Miss Argentina, and Maria Sylvia Norris as after life caseworker Juno—who's significance to the show is revealed with a surprising twist as the show concludes—bring lively energy and ad to the fun in a "show about death." Even shrunken-headed "Bob" manages to get an enthusiastic cheer from the crowd without saying a word.

Litzsinger's Delia, whose new-age hypocrisy and gold-digging unprofessionalism, steals any scene she is in. She masterfully delivers her lines with a confident obliviousness. Her performance bears zero comparison to Catherine O'Hara's movie version, and the play is all the better for it.

But Madison Mosley controls the stage as Lydia. With a strong voice and a mesmerizing stage presence, it's clear how this impressive actress ascended to the part as her first star turn in a national tour less than a month ago in October 22, 2024. She holds her own with Collette's bombastic Beetlejuice and never cedes the stage when she's on it—in a good way.

But, There's More…

And fun fact: Jesse Sharp and cast member (swing) Lexie, married 10 years, renewed their vows at The French Quarter Wedding Chapel on Burgundy Street. Originally from Birmingham, AL, Lexie worked at The Palace Cafe on Canal Street the summer before her senior year of college and frequently visited New Orleans on family vacations.

The dance arrangements by David Dabbon, complemented with Lorenzo Pisoni work as the cast's physical movement coordinator, adds contortionist humor that proves slapstick comedy is not dead.

And while Tim Burton's artistic fingerprints still very much define much of this show, the collective talents of Michael Curry's puppet designs (especially the impressive sand worms and cameo by "Bob"), David Korins' scenic design, Michael Weber's Magic & Light Design, and Jeremy Chernick's Special Effect Design bring the film's distinctive visual sensibilities to life.

This Broadway-level version of Beetlejuice show feels entirely fresh even if you've seen the film Beetlejuice, and even its sequel, Beetlej— (Ohhhhhh—almost had me).

Beetlejuice runs through Sunday, November 17 at the Saenger Theatre in New Orleans, so, if you really like it, you can dare to see it three times!

Patrons are Clue'd In at the Saenger Theatre

While it was a lovely evening outside on Canal Street, it was a dark and stormy night inside the Sanger Theatre for the opening night performance of Clue, a new farce touring the country—not to be confused with an Off-Broadway Clue the Musical that is also on tour. This Clue is a traditional one-act stage production played strictly for laughs.

Broadway shows built audiences with stories created by prolific playwrights, engaging books by respected authors, humorists, and later screen writers from film, but the Great White Way must be running out of ideas as plot points are expanding its scope to include family board games for source material.

But to be fair, while based on the game, the play draws largely from the 1985 film and keeps fans on their toes—slaying audiences with nostalgic turns and inside jokes, such as suggesting "The Parker Brothers" (the name of the original toy company which launched the game now owned by Hasbro) as probable culprits and following a map of the mansion that looks a lot like a familiar game board. Clue trips the light fantastic, even as the lights suddenly go out and bodies start piling up, with comic effect.

Let the Game Begin

The board game is clearly based on Agatha Christie's British murder mysteries—most notably her 1942 book The Body in the Library in which a colonel and his maid discover a corpse in the library of Gossington Hall—which inspired mystery buff Anthony Pratt to create the popular board game. Cluedo debuted in post WWII England in 1949 and as Clue in the United States. In both versions, players ask for collect clues to solve a murder of Mr. Boddy. The winner correctly determines which other player is the murderer, which weapon was used, and which room the murder took place. Like Christie's tale, the game is set in a Victorian-era mansion. The family board game instantly became a multi-generational way to kill the time. And so goes the plot.

The play is set in 1950's Cold War America. Fans yearning for the celebrity cast of the film will be not be disappointed at the ensemble gathered at Boddy Manor during this production. The six well-known suspects, Col. Mustard (John Treacy Egan), Mrs. White (Tari Kelly), Mrs. Peacock (Joanna Glushak), Mr. Green (John Shartzer), Professor Plum (Jonathan Spivey), and Miss Scarlet (Michelle Elaine), are welcomed into Boddy Manor by Wadsworth the butler (Mark Price) and Yvette the maid (Elisabeth Yancy) at the invitation from the mysterious Mr. Boddy (Alex Syiek).

The Game is Afoot

Victims of extortion during Joe McCarthy's Red Scare hearings, each are given items that can be used to kill their extortionist to prevent a scandal. Turn off the lights, and go!

The 15 actors—six of which are the literal pawns in this game of murder—play brilliantly off each other, making Casey Hushion's body-bending slapstick direction and Sandy Rustin's rapid-fire dialogue work. Rustin also ups the ante with the madcap murders by multiplying the film's multiple solutions exponentially and offering even more alternate murderers, before finally revealing the eagerly anticipated who, what, and where of the crime.

The character with arguably the best name recognition is Colonel Mustard, and John Treacy Egan personifies him with deadpan timing and spot-on physical comedy, easily eclipsing the actor from the movie...what was his name, again? Entering as the first guest, his arrogant, entitled manner is clear before he even speaks a word. And Egan's delivery just gets better as the show progresses.

Michelle Elaine makes Miss Scarlet her own and brings a subtle depth to the madam's confident sassiness that elevates this murder suspect above the farcical fray.

John Shartzer's Mr. Green is a hot hap-hazard mess. Whether dodging bullets, chandeliers, or just standing up, he makes his time on stage worth every second.

"Clue" performances at the Saenger Theatre in New Orleans run through Sunday, June 23. Tickets can be purchased at the Saegner Theatre's website.