A Year at the Theater
What can I say? It’s been a fantastic year. PHOTO CREDIT - disKCovery
Published June 23, 2023
I love KC! There is always so much going on. But, even I can still admit that as fall turns to winter, and then to early spring, this can be a part of the calendar that lacks for stuff to do. Normally, this is a key time of the year for restaurant and bar exploration as I avoid the bitter cold with friends and family. In the summer of 2022, the traveling Broadway line-up offered at the Kansas City Music Hall and Kauffman Performing Arts Center caught my eye.
I have long been a fan of the theater and stage productions. I get to at least one Starlight Theater and Kansas City Music Hall show every year. When I saw this year’s Broadway series line-up, I figured I would try something new. I have been a Season Ticket Member for both the Kansas City Royals and Sporting Kansas City, so why not try my hand at the Broadway series?
So in August of 2022, I pulled the trigger on two season seats for the PNC Broadway series in Kansas City. I bought the Tuesday night series which means that, with one exception, I attended Opening Night for each show.
Of course my main incentive for the season package was the chance to add on Hamilton and Les Miserables! With one show about every three or four weeks, this felt like a perfect way to spend my winter and spring. And given that Kansas City does not have a downtown sports team (YET!), the prospect of having a regular entertainment event in the heart of the city was exciting! I definitely planned to combine these shows with some outings to downtown restaurants and bars.
Now that the Broadway season has come to a close, this is the log I kept of my show experiences, and my reviews of those shows.
The season kicked off in December with a Broadway adaptation of a rom-com. PHOTO CREDIT - disKCovery
Pretty Woman
December 7, 2022* - Kansas City Music Hall
Based on the 1990 film starring Richard Gere and Julia Roberts that bears the same name, I honestly had no idea what to think about Pretty Woman going in. All too familiar with the movie, I had doubts about how this plot would work in 2022. How would it fare as a musical? How would it play on stage? And the answer, surprisingly well. What made it work was that the show did not try to be something it was not. It did not take itself too seriously. Instead, it leaned into the air of levity, the romance, the music, and even, the risqué.
From the get-go, it was clear that this show would be familiar, staying largely true to the plot of the movie. And having seen the movie prior seemed key because as the show went on, it did not feel quite like a rehashing of the movie, or a new story based on the movie’s premise. Instead, it played more like a re-imagined highlight reel, leaving the audience to piece together what happened in between certain scenes based on their knowledge. Someone who had never seen the movie would not be left in the dark by the musical but may have a few unanswered questions. The sets were simple and colorful. The acting was incredible. The songs were catchy. Adam Pascal (of Aida fame) was incredibly powerful as Edward Lewis, the male lead. Jessie Davidson was a strong counter as Vivian Ward. My favorite performance actually belonged to Jessica Crouch who played the supporting female lead of Kit De Luca. She was the wisecracking “mentor” to Vivian Ward. She was snappy, sassy, and over-the-top in a way fitting of this show.
However, the subtle side-plot of the hotel manager and the dancing bellhop was left without resolution. There were so many questions and so few answers around the spritely dancer who absolutely stole the show and his relationship with the manager of the Beverly Wilshire. Beyond that, if there were a complaint, a friend noted that the famous “snapping of the jewelry box” scene seemed insincere as that particular scene was famously improvised by Richard Gere and so Julia Roberts’ reaction in the film was as authentic as it gets. As a result, the re-creation seems especially forced. Overall the show was light, fun, and enjoyable but leans heavily on the source material to tell the whole story.
Show Rating: 2.5 / 5 Stars
Where Did I Eat Beforehand? Baramee Thai Bistro
Meal Rating: 5 / 5 Stars
Did I do my best to sneak a photo of the set before the show began? You bet! PHOTO CREDIT - disKCovery
Hadestown
January 17, 2023 - Kansas City Music Hall
Hadestown is a “modern-day” retelling of the story of Orpheus and Eurydice during a climate crisis. The re-imagined Greek tragedy is told alongside another mythological romance, that of Hades (God of the Underworld) and Persephone (Goddess of Spring). Given the set, music, and costume design, it would almost seem that the setting is actually New Orleans during the time of The Dust Bowl. In 2019, Hadestown won eight Tony Awards including “Best Musical” and “Best Original Score”.
A basic understanding of the two Greek tales central to the plot is essential for anyone who watches this show. Admittedly, as someone who went into this musical blind, it helped that I was such a devout reader of Greek mythology growing up. Much of the exposition and plot advancement is provided in song and without that knowledge, the quick-paced music and dancing could have made it hard for attendees to follow the story. On the other hand, attendees were fortunate to have the benefit of a sprightly Hermes (God of Travel) to narrate, provide insight, and introduce the players. Hermes was portrayed by Nathan Lee Graham, who I immediately recognized for his roles in Zoolander (Todd) and Hitch (Geoff). Graham was a phenomenal choice to play Hermes and was clearly the crowd favorite. He played the role of narrator and deuteragonist quite flawlessly. His movement, energy, and presence quite literally set the tone for what Hadestown would be. Even when Hermes was not at the forefront, he always had the audience’s attention.
The hero of the story, Orpheus, was portrayed by Chibueze Ihuoma, whose voice was impeccable. Orpheus’s masterpiece, which is central to the plot, is such a hauntingly beautiful composition that it sticks with the listener. As beautiful as the song is, the range needed to even perform such a piece seems impossible and yet, Ihuoma made it seem so easy. His voice and his on-stage chemistry with Hannah Whitley, who portrayed Eurydice, made me care about this couple’s fate from the start. They made me believe they were fated to be together.
Matthew Patrick Quinn absolutely owned the role of Hades. Looking at his body of work (Scar, Jafar, and Captain Hook among them), it comes as no surprise that he has often been called upon to be the villain. His stature, his powerful voice, and the way that the commanded the entire theater invoked feelings of menace, awe, respect, and fear all at once. He was the epitome of what a stage villain should be.
In addition to the case, the dancers and the orchestra were amazing. The soundtrack was incredible. However, the real stars of the show may have been the lighting technicians. Never before have I seen a stage show where the lighting is so impactful and instrumental in the storytelling. Everything that was felt as an audience member, every illusion that I bought into, every place that I was transported to was driven by the use of light. It is hard to explain, but everything that I thought I ever knew about stage lighting has been completely upended by the luminary mastery present in Hadestown.
It was incredibly evident from start to finish why this show won so many awards and why it has the devoted following that it does.
Show Rating: 5 / 5 Stars
Where Did I Eat Beforehand? Bar Central at Kansas City Marriott Downtown
Meal Rating: 0.5 / 5 Stars
My Fair Lady was such a nice switch of venue. Opportunities to visit Kauffman are rare and I was reminded what an incredible venue it really is. PHOTO CREDIT - disKCovery
My Fair Lady
February 7, 2023 - Kauffman Performing Arts Center
My Fair Lady is a classic musical based on George Bernard Shaw’s Pygmalion. The rags-to-riches story is one that many may find familiar. It was so familiar in fact that I was a little surprised when I saw the season ticket line-up that two of the first three would be the same play! Alas, My Fair Lady inspired a number of popular films such as Trading Places, She’s All That, and Pretty Woman. Even the name of Pretty Woman is basically a carbon copy of My Fair Lady. The concept is fairly simple. In both stories, a woman off the street is introduced to a life of means by a well-born “gentleman” who is surprised to find that he learns more from her than she does from him. In the case of My Fair Lady, Henry Huggins, a well-to-do professor of linguistics, encounters Eliza Dolittle, a flower girl with a heavy cockney accent. When Dolittle seeks out elocution lessons from Higgins, he wagers his friend Colonel Pickering, that he can not only fix Eliza’s dialect, but pass her off as a “proper lady” within six months.
In the PNC Broadway Series, this show provided a unique opportunity as it was one of two that played at the Kauffman Performing Arts Center. Having only been once before, the opportunity to take in this breathtaking modern marvel, that our city is so fortunate to have, was a treat in itself.
Madeline Powell played the unenviable role of Eliza Dolittle. What absolutely blew me away was her ability to not only converse in such a harsh, thick cockney accent, but the power with which she was able to sing. I daresay, for those who have seen the film, not even the great Audrey Hepburn captured the cockney accent to the degree that Ms. Powell did. And as a proper lady, she did everything she could to live up to the great Hepburn. Every moment that she was on the stage was an absolute treat as I found myself waiting for her next appearance. The stage just felt empty without her. Jonathan Grunert had a powerful stage presence and expertly captured the arrogance and certainty of Professor Henry Huggins, even if at times it felt a bit over the top. The unexpected star of the show, in a very small part, was Becky Saunders who portrayed Henry’s mother, Mrs. Higgins. Though her lines were few, the rare moments we saw her, she demanded the audience’s attention. Every one of her lines was memorable because each one played such an important role in advancing the story. And her presence was impeccable.
Overall, this version did the classical musical justice. The musical performances were strong. Powell carried the show. The choreography was well-done, and the set changes and thoughtful construction were simply outstanding.
Show Rating: 4 / 5 Stars
Where Did I Eat Beforehand? Los Tules
Meal Rating: 4 / 5 Stars
Are you supposed to take photos during theatrical performances? No. Did I break the rules and sneak one during the curtain call? Sure did. PHOTO CREDIT - disKCovery
Six
February 28, 2023 - Kansas City Music Hall
All that I knew going into Six was that it was a comedy centered around the six wives of King Henry VII of England. Beyond that and a thin recollection of Henry’s story, I did not know much at all, nor what to expect. That is likely the best way to describe this show - unexpected. In fact, this is as good of time as any to point out the first way in which this show was unique - it’s use of an all-female cost. Traditionally, the stage is very male-dominated. This show was unique in a number of ways but few of them match the show’s premise and the underlying message. Ultimately, what Six does is use a group of historical women who were abused by the patriarchy and are solely remembered for who they married and makes their stories the vessel by which to deliver a message of women’s empowerment.
“Divorced.” “Beheaded.” “Died.” “Divorced.” “Beheaded.” “Survived.”
It would seem that from the very beginning, the six main characters are informing the audience. Instead, what it turns out they are actually doing is mocking the viewers for our only interest in them being their husband and their fates. What happens from the opening number is truly extraordinary as we learn the actual stories of these women and who they were, through a modern lens with very contemporary themes. For instance, the story of Anna of Cleves, who Henry VIII famously felt was not as attractive in person as she was on canvas, is framed as match who did not look like her profile pic. The device used to tell these stories is best described as a variety show, or even better as a Vegas-style stage show. The ghosts of Henry VIII’s wives remind us multiple times they have come to Kansas City to tell their story and let the audience decide who had it worst. This format allows each member of the small ensemble to shine.
Most remarkable, is that as each wife has their moment in the limelight, the other five are left to provide the supporting vocals. With no set changes and virtually no costume changes, and a different musical style and feel for each of the wives, in a fast-paced environment - the range of these ladies was truly impressive. Catherine of Aragon (played by Gerianne Pérez) kicks things off with the raw power of Beyoncé. Anne Boleyn (Zan Berube) brought the “sorry not sorry” grungy, blunt energy reserved for Avril Lavigne in the early 2000s. Jane Seymour (Amina Faye) was especially powerful as her story marked a stark departure from the one that preceded it. Her range and the ballad she shared invoked the presence of Celine Dion. Anna of Cleves was Henry VIII’s Deutsch divorcee and so the stage is set for Germany with the only logical genre - techno! Cleves (Marlilyn Caserta) reminds everyone that she’s “Queen of the Castle” with the independence, bluntness, and rhythm of modern R&B divas like Rihanna. Moving on from there, another dose of irony as the two decapitated brides are the most upbeat in their tone. Katherine Howard (Aryn Bohannon) was the spitting image of a late-nineties Britney Spears in her challenging of the other five wives. Her piece begins as an obvious flaunting of her own sexuality and beauty but ends up being a commentary of how men only view her as a sex object. The abrupt tone change of “All you wanna do is squeeze me, don’t care if you don’t please me” was incredibly powerful! Lastly, Catherine Parr (Sydney Parra), the survivor, changes the tone with an Allica Keys-like rendition that laments the reality of the time and how she had no choice in society but to find a husband each time that she was widowed, in order to survive.
The wives challenge us to “pick a winner” and “choose a favorite” in this rather sadistic game show of sorts but they challenge us because it is impossible to choose. All six performances are fresh, powerful, and incredible. The versatility of each actress as they suddenly change their own musical style to be a back-up singer in someone else’s song could be seen in itself as a reflection and strength of each woman, even as they are relegated to being mere roleplayers. Ultimately, the whole premise of the show is a ruse as the women reveal that “the competition” is just a vehicle to allow them to tell their stories and be seen as more than Henry VIII’s wives. And they manage to do it all with very little dialogue in a fast-paced eighty minute show that requires no intermission.
There was so much to unpack and so much to love in this show! The way the script is put together ensures that all Six stand out as individuals but also flourish as a group. There is no clear MVP as each woman was simply outstanding. It’s hard to imagine seeing a stronger ensemble from top-to-bottom. I believe that what I loved most of all about Six, to borrow from a friend who also attended, is how it was written in such a way that it only plays well on the stage. The Vegas-style show does not work on television or in a movie. Something is lost in a musical album. No, Six is a stage show that can only be properly appreciated in that element, and I am so thankful I got to see it in its proper medium.
Show Rating: 4.5 / 5 Stars
Where Did I Eat Beforehand? Grunauer
Meal Rating: 3 / 5 Stars
I loved the Hamilton set so much because it not only reflected the original set so well, it made use of the natural brick in the auditorium. PHOTO CREDIT - disKCovery
Hamilton
March 21, 2023 - Kansas City Music Hall
Like many, my first exposure to Hamilton was at the height of the COVID-19 pandemic, courtesy of Disney+. Also, I assume like many, getting early access to purchase Hamilton was the incentive that first put buying Season Tickets on my radar. There was simply no way that I was going to allow this show to come to Kansas City a second time without me seeing it! Described by writer Lin-Manuel Miranda as, “America then, told by America now”, Hamilton is a re-imagining of the life of Founding Father, Alexander Hamilton. The revolutionary (PUN INTENDED!) piece of historical fiction casts non-white actors as major historical figures and utilizes show-tunes with a heavy R&B, rap, and hip hop influence to tell the story of America’s earliest days. The prolific Alexander Hamilton is presented as a brilliant lyricist and committee meetings and floor debates are framed as rap battles.
As someone who has streamed the original cast taping at least a dozen times, there were no surprises to be had with the plot, the set, the runtime, or the musical numbers. All of that was as to be expected. The one surprise of opening night is that nearly half the cast would be portrayed by understudies. This was a bit of a disappointment.
Let me start by saying, the ladies carried this show! Angelica Schuyler, portrayed by Stephanie Umoh, was the very revelation that her character was so desperately searching for. She absolutely commanded the attention of every audience member every time she was on stage and her beautiful voice was so unbelievably powerful. Ms. Umoh has such a wide and awesome range. She was without question, the strongest performance of the opening act, and the entire night. The second Schuyler sister, Eliza, portrayed by Raven Thomas carried Act II. Her emotional range captured every bit of my attention. The amount of control she had was just jaw-dropping, and her dulcet tones were simply lovely. Both actresses sucked me into the musical and tugged on my own emotions with every single note they sang. I never would have expected the Schuyler Sisters to steal the show and that is exactly what they did.
Peter Matthew Smith turned in a similarly strong performance as King George III and was every bit the on-stage monarch that attendees could have hoped he’d be. Josh Marin was excellent in his portrayal of George Washington. As someone whose favorite characters in the original are Marquis de Lafayette and Thomas Jefferson, both portrayed by Daveed Diggs, I was so impressed with DeeJay Young. I loved the way that he took this character and made it his own. He was an entirely different character than the one on-screen, but one I still enjoyed equally. I was also amused that Thomas Jefferson, one of our taller Presidents, was absolutely dwarfed on-stage by James Madison, who at 5’4” was famously our shortest President.
That is, sadly, where the praise ends. Bryson Bruce (Alexander Hamilton) and Josh Tower (Aaron Burr) both disappointed in the lead roles. Bruce and Tower both were largely unable to convey any sort of emotion or feeling into their parts. With Hamilton being a show that is more operatic than an actual musical, and depends heavily on fast-paced rap lyrics to provide background and exposition, annunciation is key. Bruce lacked the ability to clearly put the lyrics across. I feel that those who had never seen the show previously were completely lost because of how quiet and unclear Bruce was in many of his parts. Fortunately, he came on much stronger in the second act while Tower had the opposite effect. He started strong and then only got worse through the night. Both men underwhelmed.
Even still, getting to finally see Hamilton live was such a thrill and one that I will not forget. While I was eager to cheer for my favorite individual performances, especially the two ladies who carried the show, one of my favorite moments came during the curtain call. In the spirit of the original run, the entire ensemble cast joined hands and took a bow, accepting applause as one ensemble.
Rating: 2.5 / 5 Stars
Where Did I Eat Beforehand? Kobi-Q | Crossroads
Meal Rating: 4.5 / 5 Stars
They probably should just name the show Sandy because the dog was clearly the star of this fantastic show! PHOTO CREDIT - disKCovery
Annie
April 18, 2023 - Kauffman Performing Arts Center
“What else can really be done with Annie?” My friend Braxton asked me the question as we had dinner before the show and I had no answer because frankly, I felt the same way. Like many musical fans, I had seen Annie in multiple formats and never been much of a fan; but I had never seen a professional live production. Apparently, that made all the difference. This show was fantastic! The story of Annie is very familiar to many. It’s a Great Depression-era “rags to riches” story where an orphan is initially invited to a Fifth Avenue Estate for the Christmas holiday but then the lonely billionaire cannot imagine his life without her. It features a line-up of incredibly well-known showtunes with “It’s a Hard Knock Life”, “Tomorrow” and “Easy Street” having been covered and parodied numerous times.
Despite the songs being so well-known, the vocals are incredibly complicated on some of these pieces. That’s why I was so impressed with Ellie Pulsifer in her lead role. She nailed absolutely every vocal! The sheer power, strength, and range of her voice at such a young age was so incredible to witness. She absolutely commanded the stage every time that she was on it and never missed a note. There have been so many legendary portrayals of Lil’ Orphan Annie and she was everything that you could hope for this character to be. Christopher Swan, in the role of Oliver Warbucks, was able to rise to that same level as the other half of the equation. Julia Nicole Hunter was praiseworthy in her portrayal of Grace Farrell. Stefanie Londino shone in her portrayal of Miss Hannigan. Not only did she nail the accent and the personality, but she had the vocals to match. Her inflection in that accent was really something to see. I have never been much of a fan of Annie but thanks to this cast? I am now.
For all the great performances, the star of the night may have been the dog who played Sandy. This pup was so well-trained and who doesn’t love an adorable dog on stage. Sandy got more applause than anyone during the curtain call.
Rating: 4.5 / 5 Stars
Where Did I Eat Beforehand? Streetcar Grille & Tavern
Meal Rating: 4 / 5 Stars
Going into Les Mis, I knew very little about the show, just that it was incredibly popular. PHOTO CREDIT - disKCovery
Les Misérables
May 2, 2023 - Kansas City Music Hall
Les Miserables is a musical adaptation of Victor Hugo’s classic novel of the same name. It tells the story of Jean Valjean, who is sentenced to prison for 19 years for the crime of stealing a loaf of bread to feed his sister’s starving child. The musical follows Valjean, in the decades after he breaks his parole, in both his pursuit of redemption and his constant evasion of the prison guard Javert who refuses to abandon pursuit. The show reaches its climax against the backdrop of the June Rebellion of 1832 in France.
Having never seen Les Miserables prior (not even the movie version), I went in anxious to see what makes it one of the most popular musicals of all time. All those questions, and more were answered. The toughest part of Les Mis is that nearly all of the dialogue and exposition comes in song form. It can make it a little difficult to follow but the cast’s diction and timing were spot on to allow the audience to follow. Still, it can be valuable to know the gist of the story going in.
From the opening number, the audience saw the vocal prowess of Prisoner #24601 (Jean Valjean, portrayed by Nick Cartell) on display. His ability to sing with such emotion and draw in the crowd to Valjean’s emotion at any given time was incredible. His range and power were exemplary. That opening scene also introduced us to Javert, portrayed by Preston Truman Boyd. His voice also contained a certain power and engaging quality that was in stark contrast to that of Cartell. They were the perfect yin and yang. Part of the absolute beauty of this show is that you do end up growing to root for both the “hero” and the “villain” simultaneously. Among the other players, Milo Maharlika was simply brilliant and almost immediately transformed Gavroche into my favorite character. The presence of this young man on stage was well-beyond his years. Benjamin Moore and Ashley Dawn Mortensen, the Innkeeper and Innkeeper’s Wife respectively, were everything they needed to be in their roles, and more.
For as incredible as the casting was, the real MVP of the performance was the stage itself. The costume design and the set changes were impeccable. The lighting and its variety of uses was eye-opening. The battle scenes, and death scenes, were so gripping. They drew me in. The use of the projection in the backdrop in concert with the set-design was seamless. While some of the time jumps throughout the show could be hard to follow, hats off to the make-up artists who knew how to illustrate those leaps. The production transported me to another time and place as it was one without a weak link. For lack of a better word, Les Miserables is an absolute spectacle. This production was like a grand theater machine with even the smallest piece working in perfect concert with all the other gears to create something truly magical.
I have had the pleasure of attending dozens of shows over the years. While most of them have been here in Kansas City (Music Hall, Kauffman Center, and Starlight), I have been fortunate to attend multiple shows on Broadway, and even experienced theater in London’s West End. That being said, this may have been the finest stage production I have ever seen in my life, anywhere. It was tempting to buy tickets so I could attend again while it was in town. Had I not been otherwise engaged, I just might have.
Rating: 5 / 5 Stars (but would give it 6 if I could)
Where Did I Eat Beforehand? Big Q Barbecue
Meal Rating: 1 / 5 Stars
It was a beautiful night in Kansas City on May 30, for the final show of my PNC Broadway season. PHOTO CREDIT - disKCovery
Aladdin
May 30, 2023 - Kansas City Music Hall
Simply put, I love Aladdin. There are multiple versions of the story with the original Arabian Nights telling being different from any cinematic edition. Most are familiar with the Walt Disney animated classic. As a Disney fiend and a nineties kid, that version is one of my all-time favorite movies. Even as someone who was mostly underwhelmed by the recent string of Disney live-action remakes, I greatly enjoyed the 2019 release of Aladdin. Notably, I did see an on-stage version of Aladdin when I was a child making this the only show in my season line-up that I had previously seen live. All this being said, after the disappointments of Hamilton, I went into this show with very tempered expectations.
This version of Aladdin was clearly based on Disney’s animated version, but there were a few key differences. One of them was the introduction of a subplot centered around Princess Jasmine’s right-to-rule which is very similar to a storyline that was utilized by the 2019 movie. Other differences included the addition of a trio of friends for Aladdin (Babkak, Omar, and Kassim) and the absence of any anthropomorphic animals. Iago was a diminutive underling of Jafar while Abu did not exist at all. It also felt like there were a half dozen musical numbers within this version that were unique to the stage, and they were all so well done.
Any concerns that I had about this show quickly faded away! The dancing was incredible with precise movement. The costumes and sets were brilliant and beautiful. The choreography and special effects were eye-catching. Friend Like Me captured the amazement that it needed to. The Whole New World scene brought every bit of the magic. This show was every bit the spectacle that it needed to be!
In the titular role, Adi Roy absolutely shone. He was every bit the embodiment of who the audience yearned for Aladdin to be. His voice, inflections, control, and timing were nothing short of perfect. Senzel Ahmady dazzled in the role of Princess Jasmine. She perfectly balanced the relatability, heart, intelligence, beauty, and power of the princess. I greatly enjoyed the antics of Jake Letts (Babkak), Ben Chavez (Omar), and Colt Prattes (Kassim). However, the show was unsurprisingly stolen by Marcus W. Martin in the role of Genie. His presence and comedic timing were simply everything.
If I had any knock on the show itself, it would be that the conclusion was all rather anti-climactic. The script sets up this final scene for it all to resolve itself in a matter of seconds. It just felt like there was no build-up or any real conflict when all was said and done. As far as the cast goes, I never felt that Dwelvan David’s portrayal of Jafar was ever that menacing. But then again, I am not certain I put that on the actor. I don’t think the dialogue, the way the character was written, and the lack of any clear stakes left room for him to be the villain that he needed to be. Luckily, Aaron Choi played the troublesome and grating Iago so well that his character was enough to make you root against evil. Additionally, like the live-action remake, the Sultan was sadly written off as a throw-away character who was needed for plot advancement but was given no personality of his own. While the script had a couple of disappointments, this was altogether a magical ride and a fantastic way to conclude my season.
Rating: 4 / 5 Stars
Where Did I Eat Beforehand? The Russell
Meal Rating: 5 / 5 Stars
Overall, I am thankful that I took the plunge this year and decided to try something new with the PNC Broadway Series. It was such a fun adventure!
In a time of year that I was likely to stay home i was out and about in downtown every few weeks, with a reason to dress up, and have a night to remember. Getting to share each show with a different friend or family member, and some food and drinks from a local spot to boot was such a fun experience. With our stadiums all located away from downtown, it was also a drastically different experience than attending sports usually brings. Switching back and forth between the traditional, historic beauty of The Music Hall and the modern marvel that is the Kauffman Performing Arts Center was also quite the treat.
The best part of this whole experience was having a set weeknight plan where for three hours I had to turn off my phone, tuck it away, shut my mouth, and actually be present. In a world that is becoming more and more connected, the sensory depravation of the theater becomes more and more of a gift.
On the flip side, the lack of theater etiquette by many was so disheartening. Late arrivals were always distracting but nearly 20% of the people bolting for the doors during the curtain call at every show was so infuriating. It’s rude and many people missed out on the final refrain of the show due to those who wanted to “beat traffic”. Ok, rant over. But if there’s was a knock on the entire experience - that was it.
Overall, it was such an amazing ride and whether you can do the full season, or even just a show, I strongly recommend it. The whole experience is always a fantastic night out regardless of the show. With a promising line-up on the way next year, there’s no better time to consider spending 2024 at the theater.
Those Pesky Endnotes That I Often Depend Upon
*One benefit of being a PNC Broadway Season Ticket Member is the ability to exchange into other nights when you can’t make your original night. Since I had a conflict on opening night, I attended the Wednesday showing.
