Category Archives: Reviews

September 14, 2026 · 4:50 pm

NETWORK Review

By Katrina “Kat” Reynolds

NETWORK presented by Cincinnati Shakespeare Company through September 26th. I attended the Opening Night performance.

Jim Hopkins as Howard Beale. Photo by Phil Armstrong.

This September, Cincinnati Shakespeare Company is going live on the air (well, sort of) with its premiere of Network adapted for the stage by Lee Hall, based on the Paddy Chayefsky film. Set in mid-1970s America, a veteran anchorman begins to unravel while the executives see nothing but dollar signs.

Director Brian Isaac Phillips should consider this venture one of the jewels in his proverbial crown. Mr. Phillips’ pacing is ideal and the action across the entire stage is appropriately focused. Scenic Design by Jon Savage is nothing short of perfection with his smart use of screens along with tactile pieces. Costume Designer Erin Reed Carter has a keen eye for exactly the brand of 1970s fashion we would see on network employees and executives alike. Special shout-out to Sound Design by Zack Bennett for his seamless blend of “on air” versus “in person” sound effect and volume; it was no small feat and he did it beautifully. (And kudos to Danitza Piper for her rock-star Stage Managing skills on this one!)

I could quite literally just list the entire ensemble of performing artists by name and call it a day – and I’m tempted to do it because choosing stand-outs is like choosing your favourite child. But I shall try to be specific.

In your entire life, you will probably never be as suave as Barry Mulholland – but it would sure be fun to try. Mr. Mulholland brings the ideal blend of gentleman and cad to his role as Max Schumacher, head of the news division. While he is an actor who excels at playing confident characters, he is also lovely when he is vulnerable. In the role of Howard Beale, Jim Hopkins gives probably one of the best performances we’ve seen. Howard is a complicated character and Mr. Hopkins’ earnest portrayal is stellar; from disappointed anchorman who believes he has nothing more to give to accidental spokesman of the people, we buy into it all. Bravo, Mr. Hopkins, and thank you for the master class in acting.

Finally, I would be remiss not to mention the incredible Hayley Guthrie as cutthroat Diane Christiensen. Part of the trio of characters who somehow remain likable, flaws and all, Ms. Guthrie does not disappoint. She is a fundamentally likable performer and offers true grit and honesty in her depiction. She and the rest of this impressive ensemble – Geoffrey Warren Barnes II, Jasimine Bouldin, Eva Olivia Catanzariti, Montez Jenkins Copeland, Cary Davenport, Giles Davies, Phil Fiorini, Candice Handy, Kelly Mengelkoch, Connan Morrissey (Ms. Morrissey’s Act II monologue is worth the price of admission alone!), Patrick Earl Phillips, Robert Carlton Stimmel, and Brent Vimtrup – are all necessary to this impeccable show.

And last but not least, the exquisite Bryan Cranston (yes, Heisenberg) makes a cameo that will remind you of just how freaking brilliant he is.  

Like many things Cincy Shakes chooses to produce, Network is still terribly relatable despite its action being placed 5 decades ago: oil costs rising, wars on their brink, the rich men out only for themselves – it can be enough for us to wonder if things ever really change. I choose to believe there have always been highs and lows in our existence as humans and while things are bleak at present, they will get better. In the meantime, theatre helps and with an incredible Design Team, an energetic Production Team, and a superb ensemble of performers, this is one which should not be missed. As my partner in mischief and I both agree, we will be talking about this one as being a top contender this 2026-2027 theatre season for some time.

Click here for more information about the production.

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September 10, 2026 · 1:01 pm

CORNER OF THE SKY: The Songs of Stephen Schwartz Review

By Katrina “Kat” Reynolds

CORNER OF THE SKY: The Songs of Stephen Schwartz presented by Ensemble Theatre Cincinnati through September 27th. I attended the Opening Night performance.

The Cast of Corner of the Sky presented by Ensemble Theatre Cincinnati. Photo by Mikki Schaffner.

Ensemble Theatre Cincinnati is opening its 2026-2027 season with a World Premiere Musical Revue, Corner of the Sky: The Songs of Stephen Schwartz. With music & lyrics by Mr. Schwartz himself (of course), this celebration of the prolific songwriter is conceived & created by Scott Coulter and spans five decades of Broadway tunes.

Director (who is also credited with Choreography) Vincent DeGeorge excels with his use of the playing space, knowing exactly when to keep it simple or make it big. While the choreo is certainly more rhythmic movement versus dancing, it contributes to the stage pictures nicely. Scenic & Lighting Designer Brian c. Mehring offers us a simple yet useful set which plays with the lighting choices quite well. (I was particularly fond of the accent lights during “Stranger to the Rain”.) Cat Schmeal-Swope makes some pleasant choices on costumes regarding style and colour, but the men needed a wee bit extra love. They appeared rather slapdash amongst the smarter looks. Kudos to Co-Sound Designers Jake Tillman and Danielle Lobello as the vocalists are clearly heard and understood; the excellent balance allowed the singers to bask in the natural highs and lows of Mr. Schwartz’s compositions.

This show boasts a solid ensemble of vocal talent as well as story-telling capabilities. Jordyn Amani Jones is without a doubt a performing artist with an incredible future ahead of them. Mx. Jones’ understanding and navigation of their vocal prowess is miles ahead of their time. New to the ETC stage is Chanduni Herath, another young person with a heck of a future in store for her. Her clear and flawless vocals are impressive to say the least. Cincinnati royalty Kenneth Early reminds us of his seemingly limitless range, both as a chanteur and actor. Bravx to a top-notch troupe of performing artists!    

While many of you may know I am not generally a fan of musicals, you will also know there are exceptions – and Stephen Schwartz’s compositions are more often than not in the group of those I enjoy. The very first song I took to my voice coach at the age of 15 was “O Bless The Lord” because I was determined to learn the control necessary to go from simple singing to belting to lilting into the higher notes without obvious “breaks” in my execution. While Godspell was my own first exposure to Mr. Schwartz’s talents (and for the record, I still believe “By My Side” is one of the most beautiful songs ever written), it is only the tip of the iceberg for what he offers humanity via his genius. It is easy to see why Scott Coulter eagerly created this offering of laud for the songwriter’s catalogue. I highly recommend this production as a way to sit back and enjoy the music we have loved for so long performed by some very capable humans; it will cure many of your ills.

Click here for more information about the production.

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August 24, 2026 · 6:49 pm

WE WILL ROCK YOU Review

By Katrina “Kat” Reynolds

WE WILL ROCK YOU presented by Memorial Hall through August 29th. I attended the Opening night performance.


Coming at you loud (but not as clear) this August, Memorial Hall presents We Will Rock You with Music and Lyrics by Queen and Story and Script by Ben Elton. This jukebox musical is set in a dystopian future where live music and individuality are banned – until some rogue warriors fight for their right to rock.

Director & Choreographer Leslie Goddard Baum leads a solid group of performers in this “lightly staged” production. To that end, choreography is not at its finest. The steps do not match the music and it is rare to see the ensemble dance in synch. However, Ms. Goddard’s use of the staging space is excellent. Music Direction by Steve Goers is unsurprisingly lovely, but some of his efforts in creating beautiful vocal pictures are lost due to poor sound balance between the band and singers. This is a particular shame given the level of talent in both live musicians and vocalists.

As stated earlier, this large ensemble of performing artists does not lack talent; there are, however, some stand-outs:

Mary Mills (as Scaramouche) may be petite in stature, but that girl can sing place down. She has a beautiful, trained, and controlled voice and needs to grace more stages. With his flawless hair and equally flawless dialect, Rory Sheridan crushes the role of Kash. (And now is the time to mention Costume Designer Dean W. Walz for his gorgeous concepts.) Finally, another small in stature human with a big voice is Heather Hale as Oz. While known for her volume, Ms. Hale is at her absolutely peak when she is allowed to send the shivers down our spines in quieter moments.

As a huge fan of Queen and Freddie Mercury in particular, I had my reservations about We Will Rock You. While the show itself is neither ground-breaking nor otherwise earth-shattering, it’s a bit of good fun with some great music and a high dose of nostalgia. I can only imagine how fun it would be to perform. With only one weekend left of its run, it’s time to get those tickets and enjoy an evening of Queen before it’s too late.

Click here for more information about the production.

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August 18, 2026 · 6:19 pm

LA CAGE AUX FOLLES Review

By Katrina “Kat” Reynolds

LA CAGE AUX FOLLES presented by The Carnegie through August 23rd. I attended the Opening Saturday matinee performance.

Kevin Kelly and Josh Walden. Photo by Mikki Schaffner.

The Carnegie is taking audiences to beautiful Saint-Tropez this August through its production of La Cage aux Folles with Book by Harvey Fierstein and Music and Lyrics by Jerry Herman. La Cage is described as a “dazzling celebration of family, love, and unapologetic fabulousness”.

Director Rachel Stevens along with Music Director Jacob Priddy and Choreographer Josh Walden have assembled a strong and talented group of performers to spin the once ahead-of-its-time tale. Ms. Stevens use of space along with Mx. Walden’s smart assembly of dancers and movers is smart and never static. Scenic Design by Tyler Gabbard is of course impressive as his creative use of the canvas The Carnegie offers is second to none. Costume Design by John Faas is appropriately sparkly and loud while still keeping in mind those characters who should be loud in a different way. Drag Wig and Makeup Design by local drag artist Kora Sline unsurprisingly possesses wonderful attention to detail and realism (yes, there is realism in good drag, my friends).

It may seem like cheating to sing the praises of the two lead artists, but said praises are well-deserved. And make no mistake: the ensemble which surrounds them doesn’t have a shrinking violet anywhere amongst it! Kevin Kelly tackles the role of Georges, the owner and emcee of the titular club. Mr. Kelly talents include a lovely singing voice, a fundamentally likable demeanour, and an innate professionalism every moment he is present. Scenes with him feel very much like we are a proverbial fly on the way of a real person’s actual experiences.

Matching wits with Mr. Kelly at every swish is Josh Walden as Albin. The role of Albin can be a caricature in the wrong hands, but luckily Mx. Walden’s hands are the right one for the task. They are charismatic, sympathetic, outlandish, and – ultimately – human. Mx. Walden is a true artiste who can hold their own both solo and with scene partners. With exception of a very appropriate cry, I found myself smiling each time Albin took the stage.

While I acknowledge and respect how ground-breaking this musical once was, truth be told it has become rather dated. There are certainly moving moments and notable numbers, but it’s not a terribly dynamic show. However, I do believe it is worth the time to see it live, on stage, at least once in your life and The Carnegie’s presentation is top-notch. A reminder that queer people have always existed and will continue to exist never hurt anybody – especially when, queer or not, we have all felt the need to hide certain parts of ourselves at one time or another. I’ll take a musical which celebrates raw, honest-to-goodness existence without apology any day of the week.

Click here for more information about the production.

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June 24, 2026 · 4:59 pm

DEAR EVAN HANSEN at The Carnegie Review

By Katrina “Kat” Reynolds

DEAR EVAN HANSEN presented by The Carnegie through June 28th. I attended the Opening Saturday matinee performance.

As its 2026 season opener, The Carnegie presents Dear Evan Hansen with Book by Steven Levenson and Music and Lyrics by Benj Pasek and Justin Paul. The Tony Award-winning musical is an important social commentary on how each of us can feel isolated, alone, and invisible in the seemingly non-stop bustling world we must navigate each day.

Director Joe Bertucci leads this production with an appropriately sensitive POV. Pacing is flawless and use of the playing space is thoughtful and purposeful. Scenic and Media Design by Tyler Gabbard (with assistance on the Media portion from Angel Hardy) are both nothing short of perfection. Mr. Gabbard has a keen understanding of how to best use The Carnegie’s stage and I fail to be impressed each time his hand is involved. He along with Mr. Hardy found the perfect symmetry of “screen time” and it pays off.

Music Direction by Jacob Priddy is impressively strong. Mr. Priddy has been able to create a beautiful symphony of voices and instruments alike with the ideal balance between them. Much deserved shout-out to the band of talented musicians who helped to bring Evan Hansen’s world to life; they execute this excellent score beautifully.

Further credit to Mr. Bertucci for putting together a wonderfully mighty and cohesive ensemble of performing artists. Their chemistry is palpable and each actor truly gives it their “all”. I am hard-pressed to mention certain individuals above another but this is a review, after all. Denise Devlin (who plays Cynthia Murphy) graces The Carnegie stage once more after a long absence and we should all thank the Deities for it. Ms. Devlin is a consummate professional with a true understanding of her character’s role in this story. Sean Young excels in his portrayal of Connor Murphy, a role I daresay has some of the most fun. Mr. Young vacillates between brooding teen and caricature musical theatre narration with seemingly no effort. Not to be outdone by her stage sibling, Hannah Grace Ervin is a shining light as Zoe. Her voice is clear and lovely and her handle on the character’s arc is spot-on.

Finally, Tommy Sanders is exquisite as Evan Hansen. Playing the titular character is certainly a massive undertaking, but Mr. Sanders is the right man for the job. It is clear he gives in to the emotional journey and we see a very real, very raw human before our very eyes. Even while wrought with sentiment, he delivers impeccable vocals and character representation. Mr. Sanders’ use of his instrument is a master class in musicality and there is no doubt he will continue to impress audiences. Bravo!

While most of you know musicals are not my preference, a good musical is a special thing. Dear Evan Hansen has memorable songs, relatable stories, and wonderful visuals. On top of being a transparent look at how our hunger for acknowledgement can sometimes lead to poor choices, it is entertaining and free from judgement. No one is lauded for doing the wrong thing and it allows some grace to those who err which is something the world doesn’t offer us as easily. Even through painful topics, Dear Evan Hansen is fantastic art and well worth the trip to NKY to enjoy it.

Click here for more information about the production.

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