Lord Cherry's Review

Category: Off-Broadway

  • Heathers the Musical

    Heathers the Musical

    New World Stages

    31 August 2025

    Heathers is a show that I know well. I love a good dark comedy and certainly enjoy a show full of camp. So Heathers the Musical is definitely right up my alley.

    The Show’s Program

    The show opens in the year 1989 with Veronica Sawyer (played by Sara Al-Bazali, in this performance) and other students of The Westerberg High School as they despair about living life as ordinary students, who are not high up on the social hierarchy (ie — the students are not the jocks nor are they the titular Heathers and therefore they are at the bottom of the food chain). The student who is seen as the absolute lowest in this social hierarchy is Martha Dunnstock (played by Syd Sider in this performance) — an innocent minded student, with a long standing crush on the football star Ram (played by Xavier McKinnon) who she once shared a kiss with back in kindergarten. 

    The three Heathers are Heather Chandler (played by McKenzie Kurts) — she is the lead Heather, dressed in red. Then there is Heather Duke (played by Kiara Lee, for this performance) — she is the Heather that is used the most by the other Heathers, even acting as a desk so that Heather Chandler can write a note. She wears green. And finally there is Heather McNamara (played by Elizabeth Teeter) — is the middle rung of the three Heathers, and she wears yellow. 

    The other two main characters that must be mentioned are Kurt (played by Cade Ostermeyer) — Kurt is Ram’s best friend, they play football together, and are almost always seen onstage as a pair.

    And of course, the character of Jason “J.D.” Dean (played by Casey Likes) — J.D. is a fun character because he starts off as a mysterious loner who slowly descends into chaos as his god complex grows.

    Two sets from the show

    The plot of the show is pretty simple, Veronica wants to be a popular kid and to become a popular kid, you have the be friends with the Heathers. So, she gets the three of them out of trouble by forging a hall pass — forgery happens to be Veronica’s specialty as she is able to mimic the handwriting of just about anyone. The Heathers make Veronica popular, but also miserable, and in exchange, they use her forging powers to mess with other students — including that of her best friend, Martha.

    Enter J.D. who falls in love with Veronica, leading into a plot full of trickery, deceit, false suicides, unintentionally turning hated characters into beloved, tragic martyrs and inspirations, at least one attempted suicide, and almost having an entire school blown to bits. 

    The first thing that is impressive about this show is the detail. When the first fight scene breaks out in the school, it were the ensemble members (and swings filling in) who really caught my eye. They acted just the way that one would expect high schoolers to react to seeing a fight break out in the hallway — they loved it! Throwing up rock-n-roll hand signs, silently cheering, and clearing having a blast. It is also worth mentioning how much of this show is done in slow motion — whether that be the jocks shooting spit balls at a nerd or J.D. punching Ram across the face — having the actors move in slow motion allowed for every single second to be clearly shown to the audience and really played up the campiness of the show.

    The second thing that really struck me about this entire production is simply that each and every actor appears to be a very talented singer as well. Heathers the Musical does not require amazing signing ability. The physicality of the performance, the dark story line, the humour, the camp — those are the things that this musical calls for and needs for it to be successful. The fact that every single actor, once they had their chance to shine was able to belt was a huge added bonus!

    The Cast Prepare To Take Their Bow

    I loved the choreography and more importantly, the chemistry between the characters (and honestly of the actors too) of Kurt and Ram — the two popular jocks, was fantastic. Not only did they have choreography that quite literally had one climbing on top of the other but they truly felt like best friends just trying to party and get laid. 

    In fact, feeling like genuine teenagers is one of the things that this cast really was able to nail. The awkwardness of being a teen, the audacity of the things teenagers will say to parents, the need to be popular and to fit in, and the need to feel important are all things that most, if not all, teenagers experience. Whether inside of the walls of a school or just inside the constraints of life — we are all in some sort of social hierarchy. Where we fall in that hierarchy may change dependant on circumstances or timing or even where we are in life, but the social hierarchy always exists. And more importantly, everyone has damage. 

    Everyone has a story — good, bad, ugly. It’s what we do with what we learn from our damage, our trauma, and how we then in turn use that knowledge when we interact with other people — the other people in our social hierarchy. How we treat others, regardless of our trauma and how we navigate through society’s social hierarchy is what is really at the heart of this show. Under the camp, the silly, the dark subject matter, this is a show about treating others with respect no matter what. That’s really what this show comes down to.

  • Masquerade

    Off‐Broadway 

    31 August 2025

    1:30pm Entry Time

    I was not initially too keen on seeing this show for two reasons: 1. The ticket price. Theatre is my happy place and I have no qualms with sitting in the last row of a theatre (and therefore paying less) if it means I am able to see more shows. 2. I know the story of The Phantom of the Opera already, so I thought — how much more can they really do with that story?

    A lot, apparently. 

    I am going to do my best to write a cohesive review, however, this show relies heavily on secrecy and I intend to maintain that.

    Growing up, when I watched The Phantom of the Opera I would pity the Phantom. He was always a villain, but also mysterious, charming, and a misunderstood soul… and that is just kind of where the original show leaves it. Masquerade however, asks you to do more than to pity the Phantom — it asks you to see yourself in him.

    Program for Masquerade

    If I had to sum up the theme of this show, I would say it’s about learning to be vulnerable. The show very quickly takes you into a masquerade ball, complete with dancing — but it’s the act of wearing a mask that is truly important. In college, on the very first day of my freshman year acting class — my professor went out of his way to inform us that we all are already actors because we act every single day and our roles vary drastically on our surroundings and even who are the people around us. And truthfully, that lesson hit so hard because my professor was absolutely right. We bite our tongue to be polite around coworkers, bosses, teachers, etc. and then we change into someone else around our best friends and sometimes people don’t take their metaphorical mask off until they are alone, in solitude. 

    Whether a person is literally wearing a mask or metaphorically wearing one isn’t actually important. There is power in hiding your face or your emotions or even of just blending in with a crowd. But to take that mask off, let your vulnerabilities show, and accepting the judgment that may come with that is what this show is truly about. And it is achieved exquisitely.

    The sets are detailed, insanely so. And realistically, it has to be because of how immersive this show is. The number of times that the actors speak directly to you, not the  entire audience in the room, but to individual people and make them into (nameless) characters of the show is pretty much constant. Whether Carlotta is addressing the audience in the dressing room of the theatre before the performance of “Don Juan Triumphant” (in which the entire audience are now playing the roles of the chorus members in this fictitious opera), being handed a note that was written by the Phantom, hiding with a character as he attempts to escape from the people who control him, or being inches away from a crashing chandelier — it’s impeccably detailed (right down to one of the notes addressing the Phantom as “Erik” – a detail that is really only found in the novel by Gaston Leroux).

    The Card for “Don Juan Triumphant” with the show’s cast list. (Characters from Masquerade)

    It was also not lost on me how complex this show much be to put on. The entry times were set in 15 minute increments and there are multiple casts performing at once — just all performing different scenes and at different times so that the different groups of audience members never bump into each other. There was actually a technical difficulty that occurred when I was there. And if you happen to be a person who does not fully appreciate how a magic trick is done until you understand the inner workings of it — then a technical difficulty that pauses the show can be a wonderful bit of insight on how the show is able to pull off the magic needed. And it wasn’t until this technical difficulty happened that I was able to fully appreciate how technical and precise everyone in the cast and crew needed to be. Once the performance was set to begin again, the actors will take it from the top of the scene that was interrupted. However, depending on where you are in the theatre at that time, you may still have to wait for the music to catch up to the scene. And it is always fun, I find, to see the actor relax because the show is paused, and then turn right back into the character they were portraying as it starts back up. 

    The acting in this show cannot be understated. There are of course the characters that you expect to see — Christine, Raoul, The Phantom, Madame Giry, Piangi, and Andre, etc. but there are new characters as well who are used to tell the backstory. The vast majority of the music is from the original score of The Phantom of the Opera, though there are at least two songs that I did not recognise — they fit in perfectly. I also noticed which character sings which line is not always the same as in the famous Andrew Lloyd Webber musical.

    Some of actors of note are: Betsy Morgan who portrayed Madame Giry. She is one of the first characters that you get to interact with and she really sets the tone of the entire show. This role — really pretty much every role in this show — requires a good amount of improve because the actors are speaking directly to the individual audience members, asking you to complete tasks or to hide the character or even asking you actual questions. So the actor needs to be able to think quick on their feet and not only respond appropriately to whatever the audience member says or does, but also has to keep the show flowing because if one group is moving too slow, it will mess up all the other groups who have entered after them.

    Jacob Lacopo played Joseph Buquet and he was an absolute pleasure to watch perform. Lacopo had one of the most physically demanding roles in the show. It requires a good amount of acrobatics and this actor made it look flawless. This was especially impressive because it was during his big scene that the technical error occurred and the show had to be paused. This meant that the audience was able to see him exit, out of character, and then reenter, get into character, and perform as if nothing had happened. It was simply beautiful.

    Carlotta was played by Satomi Hofmann and honestly, Carlotta is probably my least favourite character in the show. And I have seen many productions where Carlotta is of course a massive diva, but not always an amazing singer. Satomi Hofmann is an amazing singer. And she’s funny. I imagine it must be fun to play this role because part of her character is to be rude to the people who have come to see Masquerade because in character, we aren’t there to see Masquerade, we are there to be her chorus members backing her up on stage. This role is also very heavy on needing to be able to improve because she asks an audience member to do a specific task. If that audience member does not understand the cue, she has fix that without interrupting the flow of the show.

    Christine was played by Francesca Mehrotra. I was so impressed with this performer. The character of Christine often has to say a lot with her facial expressions and body language — she must be able to look conflicted, confused, full of wonder, pity, anger, love — and that is often achieved when the character is not signing. Mehrotra has an absolutely beautiful voice, but what struck me was her ability to have such subtle emotional changes without saying a word.

    Raoul was portrayed by Paul Adam Schaefer who gave an immaculate performance. I appreciated his take on the character of Raoul who felt much more gritty in this show than I have ever seen him before. I often felt that Raoul feels decently passive, perhaps even confused, for large chunks of The Phantom of the Opera, but not in Masquerade. In Masquerade, Raoul makes his purpose and intent much more pronounced and this was wonderful to see.

    The Phantom was portrayed by Hugh Panaro. What a joy it was to watch him perform and see him really delve into this character. As I mentioned above, this show is intimate, with the actors sometimes grabbing your hand or placing things/taking things out of your hands. The Phantom has to be able to do these types of actions very quickly, subtly at times, and is therefore reliant on the audience members being in the correct place at the correct time and doing the correct action. He has to be a villain, but also one that the audience does not detest. In fact, if you leave this show only pitying the Phantom, I fear you may have missed the point. You have to sympathise with the Phantom. Panaro has the difficult job making the audience see themselves in his character — a character who lets not forget, kills people. Panaro is, of course, an excellent singer (anyone playing the Phantom has to be), but more than that, just like with the character of Christine, the Phantom has to be able to change his facial expressions and body language in the blink of an eye and it must be done subtly since the audience is so close. 

    The only real downside of this show is since the show is constantly moving, the action never stops. Which means, if you’re in the back of your group, you may miss the beginning of the action in the next scene. Also, I fear this likely effects anyone who has to use the accessibility options more than anyone else because instead of walking through the building, at a relatively quick pace — anyone using the accessibility options have to wait for the elevator, which I fear takes extra time and almost insures they will miss some of the performance. 

    All in all, if you’ve ever dreamt of the Phantom of the Opera grabbing your hand and whisking you through the tunnels underneath the opera house — then this show is for you. If you have ever wanted to experience a show instead of watching a show — this is for you. And it is well worth the ticket price.

    Your humble reviewer.

  • The Boys From Kingsbridge

    Theater For The New City

    Dream Up 2025 Festival

    30 August 2025

    I was not exactly sure what to expect from The Boys From Kingsbridge — I knew it was a “gritty police drama” framed against the success of the Yankees baseball team and their success in winning the American League Championship Series and thus earning the team a spot in the World Series. 

    I was honestly, a bit concerned that this may be a very pro‐police show — which could be a rather hard thing to pull off in today’s society where the police officers themselves are often the ones taking the criticism when a cop does something wrong. And I am not saying that the individual police officers who do morally wrong things (and especially the police officers that do take it way farther than a situation needs to be taken) should not be held accountable — they absolutely should. But this show points out that while yes, bad cops should absolutely be punished, but also the people in the charge, the politicians making the laws, need to be held accountable, too. Because, as this play states, most of the police are trying to uphold the law, whether they agree with that law or not. They are given quotas to meet and sent to impoverished areas to enforce crimes that are often not really important just so that the police force can keep bringing in money. This is a system, it is argued, that the good cops, the average cops, are essentially stuck in the cycle set up by the higher ups.

    There is of course, some truth in the fact that the police forces, as a whole, are systemically broken and racist. And for a lot of police officers, just like people in any other job, they comply with the orders they are given — not because they necessarily agree with the orders or the policy, but because if they refused it would be career suicide, at best, and perhaps even criminal at worst. That being said, the system being broken doesn’t absolve the individual police officers who do go too far. In fact, it should inspire the police officers to work to make change, but I fear for most, it’s just about keeping their jobs and not making waves. I imagine that at least for some, the endless cycle of being forced to do things that you don’t believe in morally would hopefully inspire change and not just beat the person down into submission. But I’ve always been hopeful. The show does take special care to point out the high suicide rate among members of law enforcement and takes care to explain that it is often due to being overworked, having broken or faulty equipment, and having no choice but to do things that they feel are wrong.

    The show includes two actors — Steven Sarao, who is also the writer, playing the character named Steve. And opposite him, as his police partner and best friend, is James Lorinz portraying Mike. 

    Steve is a book smart man (having attended Harvard), driven to make a positive change in the world, wants to see reform in law enforcement, but struggles in feeling that he is nothing but a work horse, a lackey, for the more powerful who do not have the best interest of the innocent members of society in mind, but rather they are interested in cutting corners and lining their own pockets.

    Mike is much more of a streets smart type of guy. He knows he has little ability to change the system that he works within. Mike (and Steve) have both been studying for the Sergeant’s exam — to see if they could be promoted. Mike has failed this exam multiple times, but Steve consistently passes it. However, Steve never takes the promotion and instead works with Mike in hopes of Mike being able to pass it too.

    Mike and Steve go way back, having known each other their entire lives and really only ever parting ways when Steve attended Harvard University. Their friendship is truly a  codependent relationship and as the play unfolds, it is revealed that it has been this way for a long time. The two friends have had a hard life growing up complete with abusive parents, rough neighbourhoods, and fist fights having to be a way of life.

    The show opens with Steve telling the audience about his friend Mike and how they will never see each other again. He continues to monologue about growing up in Kingsbridge, and his love for the Yankees, and most importantly about Mike.

    Then it is Mike’s turn to give his opening monologue in which he gives his point of view on the same things that Steve spoke about. And finally, the audience see the two characters interact — they do act like long time friends, giving each other a hard time, cursing each other out, and just chatting like close friends do. 

    As I mentioned before, this show only had the two actors. Therefore all of the other characters — a police sergeant, a couple being arrested, etc. were either not present on stage at all or the two actors mimed moving the other people around (an example would be placing their hands on the arrested couples heads and leading them into the police cruiser). While this worked for the majority of the show, there was at least once where it was not made clear that two people were being arrested and not just one until a good minute or two after the event happened and it was the dialogue that gave it away. 

    The sets were simplistic; the front of a police car, a podium, a bench, a radio, a desk… nothing elaborate, but the show simply did not call for extravagance, in fact, it called for simple and worn down. 

    The costuming was also pretty minimal, really only consisting of the two actors wearing their police uniforms. I did find it odd that neither of the uniforms had any sort of badge on it anywhere and the guns that the officers carried having bright red tips was a bit distracting. But I have to wonder if legalities of some sort prevented the usage of more realistic uniforms and firearms. 

    The show did have one glaring problem that is hard to overlook. At one point, the two characters are in their police cruisers, just chatting, but it’s during a “sacred time” where the characters get to enjoy their coffee and relax a little bit before the day really starts and they start receiving “jobs” (911 calls) that they have to respond to. It is during this scene that the audience see both the characters of Mike and Steve with open books in their hands. I thought that the characters were parked, reading books, enjoying the quiet part of their shift… until they mention the need to pull over. It was then that I realised that these character were not parked and enjoying a book during a slow part of their shift — the actors were reading their lines from the script. Unfortunately, this was not lost on other members of the audience because I was asked immediately upon exiting the theatre by another patron if the actors were still on book.

    There was one other thing that I found odd about this show…and WARNING: SPOILERS AHEAD:

    The show opens with a radio talking about the Yankees and immediately after is the opening monologue spoken by the character of Steve. This is the monologue in which Steve tells the audience about how hard it is to be a police officer. This is when the audience is informed of the high suicide rate among law enforcement and how the police officers also get the short end of the stick. And it is in this monologue that it is mentioned that Steve never sees Mike anymore. 

    It becomes apparent on this opening monologue that one of the two characters is not going to survive this tale. And since this show opens with Steve, I would have thought Mike would unfortunately lose his life. In fact, a major plot point throughout the show is that Mike is desperate to tell Steve something, but he struggles to actually say the words. I was sure that perhaps this secret that Mike must tell Steve was going to be along the lines of him being sick and terminal. So it was a huge surprise to me when Steve is the one killed in the line of duty. And then the show ended. With the choice of Steve being the one to die, I felt there needed to be an additional scene where, heartbreakingly, Mike cannot handle it anymore and takes his own life — harking back to the words that Steve spoke in the beginning.

  • The Life and Death of King John

    The Life and Death of King John

    The Smoking Mirror Theatre Company

    Off-Broadway

    29 August 2025

    There is a lot to be said about this very downplayed work of William Shakespeare. The entire show is incredibly political and there are certainly themes that can easily be seen as parallels to the modern day political regime in America… I’m just not sure if the show exemplifies that in the way that is necessarily intended by this production. 

    My first question — if this is a parallel to the current administration, who is the Trump‐like character in King John? Is it King John himself? The character who is seen in a positive light by his fellow Englishmen (eventually, at the end), but also as someone who flip flopped on their standards and killed at a whim for power. Or is the Trump‐like character supposed to be The Bastard, Philip Faulconbridge? A character who just kind of falls into place, in line for the throne. He rambles, he has asides to the audience, but he never really says much. However, he is violent, he is there to take the glory, and most importantly, he doesn’t actually do much — everything happens around him and he gets the benefit of it. In fact, his defining characteristic is his lust for power.

    The political nature of this show goes down even to the colouring of the costuming. The English wore red — mostly in the form of sashes and the French wore blue, also mostly in the form of sashes. Were these colours chosen specifically to match the colours typically associated with the Democratic and Republican parties in America? I can’t say for certain, but I’d suspect so.  It must be noted, however, if the French are intended to be representative of the democrats and the English representative of republicans — the political ideal of the show falls apart. Shakespeare, being an Englishman, who had to write a certain way to please the crown had no choice but to make the French be as violent or even more so than the English — which undermines the entire idea of the political nature because it was written with bias. This leaves me to wonder, perhaps the point is not one is better than the other. Perhaps the point is that they are both equally bad and that the influence of religion poisons power.

    I do find it interesting that the character who causes the most actual harm is that of Cardinal Pandulph. He is the mouthpiece from the Vatican and he pushes the war between Louis the Dauphin and King John forward with a slithering snakelike ability. Interestingly enough, he wears purple. Purple is of course, the colour of royalty in Ancient Rome, but it is also the colour that you get when blue and red are mixed.

    The colour scheme can of course be interpreted that the church or religion is the real issue behind politics as everything that happens in this show is a direct result of interference of the (in this case) Catholic Church. And this would resonate with modern politics as it is not uncommon to see religion become involved. 

    The rest of the costuming was simple — all black. This was particularly wonderful during scenes of battle, which was done with a bit of a choreographed fighting and dance. However, most notably, was the decision of the actors (minus a few main characters) being completely covered with only their eyes showing. The names of those covered characters are not important. They are nothing more than unnamed casualties in a meaningless battle. 

    The mostly black costuming went well with the black box theatre and minimal set pieces (mostly consisting of multiple black boxes that the actors could stand on and an all black throne). 

    The show used a nice mixture of what I can only describe as some sort of tribal/battle music and religious hymns which mirrored the war and religion beautifully throughout the entire show.

    I cannot even begin to discuss the talent of the cast. Some of the more notable cast members were Bellamy Woodside Ridinger who played King John and had an amazing death scene, among many emotionally powerful displays of both fear and success. Mateu Parallada who played The Bastard Philip Faulconbridge who is linguistically able to navigate the often complex language of Shakespeare with ease. Ruby Rich who played the character of Constance with such emotion — she really gave this performance her everything! But perhaps the actor who caught my eye the most was Martin Challinor who played both Cardinal Pandulph and the character of Hubert. 

    Martin Challinor was able to transform from the slimy, sinister Cardinal into the scared knight unable to bring himself to actual harm Arthur. And most impressively, he seems to do this with ease. 

    This show relies on a cast of eleven actors to play a variety of different characters. And this show nails that. 

    There certainly were parts of this show that could have been cut without having a major impact on the story and still maintaining the integrity of the story. That being said, I would personally love to see a live production of Shakespeare that has not been cut at all — bring on all five acts 

    This show does Shakespeare justice. Well done. 

  • Gene and Gilda

    Gene and Gilda

    59E59 Theaters

    5 August 2025 Evening Performance

    This show is very cute. It tells the real life romance of Gene Wilder and Gilda Radner, actors known best for their comedy performances – one for his movies including Willy Wonka and the Chocolate Factory, Young Frankenstein, and See No Evil, Hear No Evil and the other most notable for her numerous Saturday Night Live characters and sketches. The show is framed by being an intimate interview between an unnamed interviewer, voiced by Dick Cavett (this character is never seen, only ever heard), and Gene Wilder (played by Jonathan Randell Silver). The interviewer asks Gene Wilder to discuss his romance with his late wife, Gilda Radner (played by Jordan Kai Burnett). Gene is initially reluctant to discuss this because it is a “private” matter, but Gilda appears and urges him to tell their story. From then on, the show alternates between Gene Wilder talking to the interviewer and seamlessly drifting back in time through his memories bringing the audience with him to relive the experiences.

    The chemistry between Burnett and Silver is hard to deny. The budding romance feels genuine and the witty dialogue between the two characters felt almost as if you were watching two people actually fall for each other for the first time. And that was absolutely delightful. Silver, especially grabbed my attention (for the record, I am much more familiar with Gene Wilder’s career than I am with Gilda Radner’s) with just how much he sounded like the late Gene Wilder.

    The part of the show that just felt off to me was the parts where comedy was supposed to be the main focus… whether it was Gene Wilder being so neurotic that it felt like we were watching someone doing their best “Leo Bloom” impersonation or a monologue that cycled through all of the characters that Gilda Radner played on Saturday Night Live — it felt forced. Those moments felt like I was supposed to be watching someone who was supposed to be acting silly. It just didn’t feel genuine.

    I also found this happened whenever the show would start to get too serious. When the characters of Gene and Gilda were intimate with each other, for example, the show would go into a dance motif. It was clearly meant to be a lighthearted way to say that the characters were making love, but it felt as if the show was simply trying too hard to be funny.

    This shows best moments come when the characters of Gene and Gilda bounce off of each other and the comedy stays focused on the developing relationship. The story is a romance — I just wish it didn’t try so hard to be a comedy. The romance, the grief, the loss, the wisdom learnt is enough… everything else began to feel like an imitation of the titular characters. Love and loss are emotions that almost all humans have felt at some point in their lives. Whether it’s losing a person, a pet, or even an opportunity — the grief of losing someone or something can be beautiful. This show has the chance to really show the audience the beauty of humanity through the eyes of a man who has loved and has lost that love, which is something everyone can relate to.

  • Teeth (2024 Musical)

    Teeth (2024 Musical)

    Okay: Teeth the Musical… my only complaint, there could have been so much blood utilised. Funny, fast paced, clever. Just not much of a splash zone.

  • The Play That Goes Wrong

    The Play That Goes Wrong

    The logistics. Holy crap, the logistics. The amount of things that have to go right for things to go wrong! And the ability to keep the audience at the perfect amount of participation needed for the awkward moments, arguing with the audience, and many many other off the wall moments. Very well done. As someone who enjoys camp, things going awkwardly wrong, and the meta-ness of having the tech guy pull pranks on the actors – this was well done. For those who haven’t seen it, think Clue meets Noises Off (and throw in a clever play within a play playbill) and this is show is the love child. Luckily, I love both Clue and Noises Off.

  • Hamlet

    Suzie’s performance was wonderful. It did get a bit confusing towards the end of the show, especially in the final scene, to keep the many, many characters being performed on stage completely straight. Plot lines were changed (Shakespeare is in the public domain), so Hamlet was sent away to England later on that expected, but it worked. The most notable change perhaps being the “What a Piece of Work is Man” soliloquy performed in the first act of the show (the show was done in two acts), in the graveyard, but without Hamlet having found the skull of Poor Yorick yet. In the second act, Hamlet returns to the graveyard where he discovers Poor Yorick’s skull and he discusses his memories of Yorick. The change in the timing some of the plot points may have contributed to some of my confusion. Obviously, I don’t expect anyone to be putting on all five acts of any of Shakespeare’s work, and truthfully the changes didn’t really impact much. I’d love to see Suzie do Romeo and Juliet. I think she would have a lot of fun with it. She is an impeccable actor and person.

  • Great Expectations

    I always have great expectations when I see Suzie Eddie Izzard perform. My great expectations were not only reached, but very much surpassed by her one woman show of Great Expectations.