What The Critics Are Saying About Becoming George

The Washington Post

“highly tuneful…evocative score stocked with fetching melodies…Cascades of piano notes, recalling the oeuvre of Sand’s lover, Chopin, twine past arching cello phrases. A brassy trumpet embroiders the edges of crisp military tunes.”

“It’s an impressive roster of talent and hats off to MetroStage and to the creative team for daring to peg a new musical…to this literary subject.”

Celia Wren

DC Theatre Reviews

“Does the musical capture the indomitable spirit, prodigious writings, and mind-boggling life choices of this self-named woman clearly far ahead of her time? Yes...”

“the musical celebrates the true and enduring love of George Sand-the power of artistry.”

“Taylor plays Sand with a strong yet weary-worn charm, an amazing contralto voice laced with jazzy undertones…”

“Meegan Midkiff is an absolute standout as Sarah Bernhardt with a lyrical voice of pure operatic beauty. Her duet with Taylor ‘Becoming George’ where she contemplates ‘Becoming Sarah’ produced audible sighs of delight throughout the audience.”

“In producing ‘Becoming George,’ MetroStage has proven once again that it has the heart and courage to trust a new script and fresh voices. Launching this ambitious story in a world premiere musical is in keeping with the indomitable trailblazing spirit of George Sand herself.”

Debbie Minter Jackson

Washington City Paper

“…if you enjoy a well-written libretto exquisitely performed, ‘Becoming George’ is a must.”

“Taylor’s contralto perfectly matches Sand’s maternal warmth and subversive wit. ‘My heart goes out,’ she says, more than once, ‘to anything dawning or growing.’ What better way to grow old, this feminist-friendly production affirms, than to participate in the revolutions of the earth?”

Pamela Murray Winters

The Washington Times

“Miss Taylor is a wise and intelligently benevolent presence as George Sand, and her voice is warmly reminiscent of cigars and cognac.”

Jayne Blanchard

The Alexandria Times

“Play offers a glimpse into the fascinating world of George Sand.”

“With a wonderful, witty script, beautiful music and sophisticated lyrics, the entire ensemble is cast to perfection as the intimate Alexandria theatre is transformed into Sand’s 300 acre French country chateau.”

“Brian Childers…is perfectly cast as the prince and delivers a brilliant dramatic performance that is highlighted by the compelling strength of his vocal abilities.”

“ ‘Becoming George’ is musical theatre at its best and MetroStage, known for giving voice to contemporary plays and musicals, is once again the architect of a production worthy of being called a ‘world premiere.’ ”

Jeanne Theismann

“A musical is always in the process of ‘becoming.’…DC is a great theater town. There’s always a lot of theater and new plays here and MetroStage does a wonderful job of showcasing new talent.”

Stephen Schwartz’s comments during a talk back following a performance of “Becoming George” as reported by Theismann in The Alexandria Times

PotomacStages.com

“…the feel of a chamber musical which fits very nicely into this intimate space.”

Brad Hathaway

MetroWeekly

“Eisenstein’s dynamic score…rich with gliding harmonies…Midkiff is a dazzling vocalist…”

Jolene Munch

The Gazette

“Kat Taylor…brings a certain grand dignity and presence to the title role.”

Brad Hathaway

AllArtsReview4U.com

“an exceptionally fine cast, lush music, and the compelling story of fascinating characters…”

“Kat Taylor…captures the passion..creats a brillliant and witty character…Meegan Midkiff is the young Bernhardt well on her way to creating a celebrity on stage. Meegan Kidkiff herself is well on her way to becoming a top stage talent.”

“Both fascinating and highly entertaining, “Becoming George” is the one show not to be missed.”

Celia Sharpe

TalkinBroadway.com

“ Taylor succeeds in making Sand a figure to be reckoned with, utterly determined, sometimes wounded , but fearless.”

“Howard Kurtz’s costumes are sumptuous and beautifully detailed.”

Susan Berlin

DCist.com

“they certainly have a worthy George on their hands. Commanding without effrontery, seductive without brazenness, Kat Taylor’s George is everything Studio Theatre’s recent Miss Jean Brodie was not—a complicated, larger-than-middle-aged woman who fascinates while still seeming real. Plus, Taylor definitely can sing.”

“impressive harmonies…fun swashbuckling spirit…”

Missy Frederick