The men were dapper, the ladies elegant, they were all beautiful, and together drew viewers into the time best befitting each Irving Berlin song’s historical context. We heard charming anecdotes while reveling in the choreography, lighting, sound, costumes, dancing, singing, and the orchestra — it was all as it should be in a joyous evening of smiling and nostalgia with wonderful music, singing, and dancing.
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Eight actors and one hand puppet portray over a dozen characters in Jonathan Hogue’s pressurized fire hose of a musical. This parody of the hit Netflix series, Stranger Things, had its initial run in 2021 and blasts back with its original director, several original cast members, and some new recruits, all getting down to rowdy business.
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They filled our hearts and souls and left us dancing and singing all the way home; on the subway, the street, up the elevator, and into bed.
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The troupe aptly expressed the story with its twists and turns, plot and subplots, and its sojourn into the supernatural world of the night forest. We were indeed transported into the supernatural moonlit dreamscape of fairies. We experienced the mystical, love potions, and the droll interactions of humans and pixies.
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I am sure I am missing something, but reading the many words of praise for this play, extolling its beauty and otherworldly, paradigm shifting style, I have to wonder if I saw the same show as everyone else, or if is I who was in the alternate reality. I found the narrative inconsistent, the romance sexless and the choppiness irritating. It was a real let down. Luckily, the production design, with its gorgeous lighting and futuristic set, and a shattering performance by Francesca Carpanini, save the show from falling into total incoherence.
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