What the Critics are Saying about The Real Inspector Hound

"[Actors Ralph Cosham, Michael Tolaydo, and John Dow with director John Vreeke] are all back at MetroStage this spring with another (and superior) Stoppard work... and they're better than ever."
- TalkinBroadway.com

"[Director John] Vreeke’s production features a number of zesty performances, and most of the cast appears to be having a blast — but it’s Cosham’s brooding Moon who seems to live most fully in Stoppard’s delectably language-drunk, hall-of-mirrors world."
- Washington Post

"...get carried away by the pleasure of the performances, especially Miss Flye’s deadpan double-takes and deliciously demented spins on the hackneyed dialogue. Mr. Cosham’s hound-dog demeanor and high-falutin’ expressions of inferiority perfectly embody Birdboot’s splintered spirit and Mr. Dow has his moments as the speed-racing Magnus, a wheelchair-bound guest at Muldoon Manor."
- DC Theatre Scene

"...the farce immediately tumbles into nonstop, high-octane entertainment."
- Washington Examiner

"It is a delightful show with marvelous performances and if you've seen a few English manor mysteries you'll enjoy it all the more."
- Alexandria Gazette Packet

"With a crack cast and a dizzying plot, it’s another winner for MetroStage."
- Alexandria Times

"This is a great family show particularly since Tom Stoppard is such a wordsmith that he doesn't resort to vulgarisms typically found in current drama."
- AllArtsReview4U

"...it is an entertaining romp that will make both critics and regular patrons laugh."
- WeLoveDC.com

"The play is such unmitigated fun that you are almost certain to sit tingling on the edge of your seat, waiting for the next unexpected twist and unforeseen turn."
- Fairfax Times

Review from AllArtsReview4U.com

At MetroStage, Bernadine Mitchell gives a masterful performance as Ethel Waters from her being a "Philadelphia bastard" to her ending her life as a "child of God" in the company of preacher Billy Graham. The show is titled after her most famous song "His Eye is on the Sparrow" (To 3/20). It is a wondrous two hours as Ms. Mitchell follows the life of Ethel Waters in all of her feistiness as a child as well as an adult in show business. It is also a very sad story as it pictures the tortuous life of all Black entertainers in their show biz life in the United States. (Ms. Waters always wanted to be referred to a "colored" and, of course, it was Billy Graham's saying that God is multi-colored which turned her towards religion at the end of her life). Ms. Mitchell has a golden voice of superb range and her renditions of "Suppertime" ...with a back- wall picture of a lynching...that is totally poignant. And her renditions of "Stormy Weather" and "Am I Blue" brings tears to the eyes. But there is lots of bouncy and comedic songs that completes this picture of a very accomplished "colored" entertainer. Music director and pianist William Knowles is top rate in his accompaniment and his solo of a stride jazz piece brought forth strong audience applause. The mostly senior-citizen audience raved with a standing ovation at the end of this concert. Take your seniors to the show as well as the rest of the family for a very inspirational two hours of musical theater.

- Bob Anthony

What the Critics are Saying About His Eye is on the Sparrow

"Bernardine Mitchell 'soars' in His Eye is on the Sparrow… Mitchell's singing is first-rate. The musicality is rich and soulful, framed by humble gospel but ready to rumble with touches of blues... the infectious bounce of Mitchell’s phrasing in the jaunty 'Frankie and Johnny,' her controlled joy in 'Sweet Georgia Brown,' the simmering ache that Mitchell (accompanied throughout by William Knowles on piano) brings… Her vocal control in pinpoint, and her understanding of this musical territory goes deep.”

- Nelson Pressley, Washington Post

“...it's a hallowed story wrapped in the glorious vocals, tender expressions and captivating style of Sistah Bernardine. It’s a blessing waiting to happen… Bernardine Mitchell embodies the deep resonance of the vocal quality that relays years of struggles while she tells the story with passion and grace… One of the several show stoppers is 'Black and Blue'... which Mitchell captures and delivers in an amazing tour-de-force. When her voice crests and flows into a crescendo, there simply is nothing like it and her commanding presence in a solo show showcases her inspiring gifts. Thanks to (the playwright Larry) Parr, we are able to bask in the presence of yet another nearly forgotten treasured artist, and this portrait is a gift that can keep on giving… Bernardine Mitchell is absolutely divine and her performance may as well be a ministry - she touches people, they leave transformed, mesmerized, and come back for more. All I can say is God Bless the Child because His Eye is on the Sparrow and the remarkable Bernardine Mitchell.”

- Debbie Jackson, DC Theatre Scene

“Mitchell, who triumphed at MetroStage in another ‘Mahalia,’ dons her roles like a second skin as her lush contralto voice and commanding presence take the audience on a journey of pain, triumph and redemption…”

- Jordan Wright, Alexandria Times

FREE for ALL - From the Washington Post

Peter Boyer and Donna Migliaccio in MetroStage's production

of "A Broadway Christmas Carol" (Photo by Colin Hovde)

Your lump of coal

Reading the largely unfavorable review of MetroStage's glorious production of "A Broadway Christmas Carol" ["A blah humbug from MetroStage," Style, Nov. 25] reminded me of why I enjoyed it so much when I saw it last month.

The reviewer grudgingly acknowledged some of the delightful shenanigans - and there are many more - that the multi-talented actors engaged in. But these were not enough to overcome her major objection to the production: the fact that it manages to "simultaneously lampoon and celebrate Charles Dickens' classic ghost story."

As a fan of both Dickens and Broadway tunes, I would not have it any other way. I found the combination of sentiment and satire to be - in the words of Goldilocks - just right.

Jo Ann Browning Seeley,

Alexandria

What The Audience Members Are Saying

"Excellent acting and singing, very talented people. Loved the piano player. The songs were great with clever take-offs on broadway hits. Really enjoyed the show. Not like the typical Christmas fare. Lots and lots of fun. MetroStage never lets me down!" - Anonymous

"Okay, I literally just got home from seeing this show and found [the Washington Post's] review in my inbox (because I run a blog about Dickens, I have a Google News Alert on his name). And I think we must have seen two different shows, because I thought it was brilliant. The songs fit perfectly, the rewritten lyrics were hilarious, and the cast handled it all beautifully. I had a blast and would love to see it again." - Gina D.

"This was a fantastic production. If you want to laugh, this is a must-go-see." - Anonymous

What The Critics Are Saying

Click on the image to enlarge

Review by Bob Anthony from AllArtsReview4U

The holidays opened with a "bang" with MetroStage's "A BROADWAY CHRISTMAS CAROL" (To 12/19) which one hopes would last through 2011! Three highly professional comedy singers (Matthew A. Anderson/Peter Boyer/Donna Migliaccio) present parodies of Broadway tunes adapting them to the script of the old chestnut "A Christmas Carol" with Scrooge and his cohorts. The costumes changes are fast and furious as these three must switch into many characterizations...it must be not unlike the "Tuna Folks" with the dressers backstage. Anyway, it is a howl every minute as this zany tale about the old miser is recreated with so many farcical bits. Thanks also goes to the book and lyrics by Kathy Feininger and the superb comedy direction by Larry Kaye. Aaron Broderick was superb at the lone piano but even he plays his bit parts well. Janine Gulisano does wonders with the period costumes and Allison Campbell does a superb Christmas set to get one into the holiday mood. Nancy Harry gets kudos for her fine choreography which is half of the fun of the show. This is a highly recommended show that word-of-mouth should prove a sell-out. So get those tickets as holiday presents.

A Standing Ovation! Performances to Cherish

(l-r) Charlotte Akin, Noah Chiet, Lauren 'Coco' Cohn, Ben Cunis and Chris French

"In the last three months, there were many performances that moved me, made me laugh, and made me stand up and cheer at the final curtain. One of my favorites is Lauren ‘Coco’ Cohn as Ursula Gillow, Coral Hicks, and Maid in Glimpses of the Moon at MetroStage.‘Coco’ Cohn arrived at MetroStage with a week to go before the critics arrived to review Glimpses of the Moon. In a short time, Coco had to learn the numerous lines for three kooky characters she was going to play in the show. Talk about laughing myself silly! If you’re a member of my generation – think Ruth Buzzi from “Laugh In”. I heard several members of the audience whisper, “Who is she? She’s so funny!” Local audiences and critics may not have known who she was before the lights went down that night, but after the lights came up after the final curtain bow – audiences and critics were yearning for more Coco. Bravo!"

- Joel Markowitz, DC Theatre Scene

CLICK HERE to read the full article >

Critics and Audiences Love Glimpses of the Moon

"Pop, fizz and deliriously good. Mash up the sensibilities of Gatsby and Thoroughly Modern Millie; pour over jazz-kissed show tunes laced with interesting harmonies [by John Mercurio]; stir in a witty book and lyrics [by Tajlei Levis]... and before you can say, "Gilded Age" or "Roaring Twenties," you have MetroStage's 'champagne cocktail' season opener."
- Gary McMillan, DC Theatre Scene

"Oh, those shimmering parts... Performances are hardly Glimpses of the Moon's only charms. Composer John Mercurio has penned some appropriately bouncy '20s-ish tunes. And Tajlei Levis has framed them in a pleasantly smart-ass libretto that mixes musical comedy directness with James Joyce jests."
- Bob Mondello, Washington City Paper

"This show is a treasure and should not be missed. The cast was exceptional -- strong script and score helped make this a wonderful evening for "glimpses of the moon" under a magical harvest moon in Washington."
- Anonymous

"Modest, tuneful and amusing... John Mercurio's music is generally peppy and the book and lyrics by Tajlei Levis are often cute, so Glimpses of the Moon shapes up as an undemanding entertainment... Director-choreographer David Marquez's aggressively energetic show really does glow... Cohn's terrific at what she does, generating laughs as an aggressively lusty, comically unlikely second banana... Natascia Diaz supplies a formidable shot of star wattage as Susy... Gia Mora consistently performs with the effervescence of a champagne bubble... and she seems to adore her slinky, shimmering costumes."
- Nelson Pressley, Washington Post

"MetroStage puts on a dazzling, transporting show... Glimpses of the Moon crackles with wit and barbed cultural references... [It] confirms that real love is blind and can overcome financial hurdles -- and also that new, quality theater isn't just the preserve of the better-known, better-funded and better-located institutions... John Mercurio's very contemporary score... is buoyant. Lisa Zinni's sumptuous costume design will captivate you. Also richly aiding the story, making it glow, is a strong cast. Particular praise is due to Diaz, whose voice calls to mind Bernadette Peters, [and] has the star power to suggest we'll be seeing and hearing a lot more from her... 'Until we find love, we'll have a lovely time' perfectly captures the feeling you'll have leaving the theater, stepping out into the moonlight..."
- Doug Rule, Metro Weekly

"As Susy, [Natascia Diaz] is bright and beautiful, a triple threat of acting, singing and dancing talent, enchanting in the romantic scenes but equally as adept at comedy of the vintage madcap variety. Gia Mora embodies sophistication, but with enough brass beneath the class to add an interesting edge to the philandering Ellie Vanderlyn... [Lauren] Cohn fits the bill as society matron and maid, but pulls out all the stops when playing Coral Hicks... Sam Ludwig makes a very dashing leading man... Matthew A. Anderson as Winthrop "Streffy" Strefford... can't help flying into a joyous jig... to the very funny song "Terrible News." Stephen F. Schmidt as Ellie's deceived and abandoned husband, Nelson, fills the role with pathos in his standout moment of song, "Tell Her I'm Happy."
- Gary McMillan, DC Theatre Scene

"Beautiful little theater with it's own parking. Show was excellent with very professional singers and actors. I had never been to this theater before but will return after the great theater experience I had."
- B.R.

"A charming piece of work, worth seeking out because of its richly talented cast... The songs are pleasant if evanescent... Director-choreographer David Marquez makes the most of the theater's small stage, and musical director Darius Smith keeps things lively as part of a three-piece onstage band."
- Susan Berlin, Talkin' Broadway

"Head-off for a splash of a jazz-age romantic musical with first-rate, cabaret style voices to delight and a three-piece band to add to the pleasure. Metro Stage’s "Glimpses of the Moon"... is soft-edged entertainment like a shimmering water-color painting of moonlight reflecting off a rippling lake... With a closely knit cast directed and choreographed in an unfussy style by David Marquez... The score carries the show along winningly... The six-member cast is exceedingly likable. Natascia Diaz... and Sam Ludwig each have clear voices and a delivery that lets the lyrics and the melody sink in without bombast. The duets between the two are polished and soulful... The set designed by Daniel Pinha has a stylish look; done up with visual details columns in a French blue color scheme giving a sense of luxury to the intimate MetroStage decor. The luxury look is carried forward with the radiant costume design."
- David Siegel, Alexandria Gazette Packet

"Wonderfully witty and whimsical, Glimpses of the Moon retains its histrionic bite through David Marquez's shrewd management of timing and temperament... The music is sparkling and the jazz smolders with fluid music direction from Darius Smith. There's not a weak performance in the ensemble cast... It's Lauren "Coco" Cohn's zany interpretations of three distinct characters that ultimately steal the show... MetroStage's giddy and game production [is] a lovely tribute to 'modern' matrimony and the charming chicanery of the wealthy, both old and new."
- Jolene Munch Cardoza, Washington Examiner

"For an intimate show, the production values are wonderful. The set design [by Daniel Pinha] in blue and white, complete with crystal chandelier, is the hallmark of elegance, namely simplicity. Andrew F. Griffin's lighting design complements the set. Lisa Zinni's costumes... capture the glamour of the era. There would be no beautiful music with the terrific three-piece band. Steve Baena's sound design ensures that voice and instruments blend and fall clear as day on the audience's ears. If this production is any indication, Glimpses of the Moon will find its way into the repertories of regional, professional and community theatres across the county."
- Gary McMillan, DC Theatre Scene

WETA Around Town Theatre Review

Trey Graham and Paul Bachmann review this MetroStage show, which parodies five of broadway’s composers, with music by Eric Rockwell and lyrics by Joanne Bogart.

Click here to see the video >

What the Critics (and some audience members) are Saying about HEROES

“Displaying spot-on timing, three expert actors mine the humor, tension and wistful profundity in this 80-minute piece.”
- Celia Wren, Washington Post

“The MetroStage production…had [the] audience shouting with laughter when they weren’t literally poised on the edge of their seats, listening to the clever wordplay…”
- Nancy Dunham, The Examiner

“Comprising the tenderly beguiling cast are three of Washington’s most beloved actors, each of whom delivers a splendid and achingly funny performance.”
- Jeanne Theismann, Alexandria Times

“Director John Vreeke paces the show nicely, not rushing it nor dragging it out.”
- Rich See, TheatreDC

“This production of HEROES is absolutely heartwarming, funny and brilliant. I truly enjoyed it 100%.”
- Ilona D.

“Vreeke takes the cast through the play with the grace of classical musicians performing an etude. The actors work beautifully and seamlessly together, with John Dow providing the proper balance between Michael Tolaydo's high ebullience and Ralph Cosham's consummately low notes.”
- Jayne Blanchard, Washington Times

“It was wonderful! [The play] had us in stitches from the opening act until the last scene. Must see it!”
- C.S.

“A Potomac Stages Pick for a short evening of charm, warm humor and fabulous acting.”
- Brad Hathaway, Potomac Stages

“A trio of talented actors and a wonderful script make this production an absolute joy. A more pleasurable theatrical experience than HEROES is hard to imagine. [It was] thoroughly enjoyable. Don’t miss this play!”
- Tom A.

What the Critics are Saying about Cool Papa's Party

"Cool Papa's Party is a frantic smattering of music, dance, with bits of dramatic elements tossed on an overlay of historical chronology... He was a force of nature - complex, conflicted, controversial, self-destructive, who barreled through his life story as the ultimate song and dance man, from cradle to grave. Ambitious to a fault, this rendition... is also complex, conflicted, reaches beyond the traditional boundaries, calls its own shots, and barrels through on the sheer life force of its own force of nature, by the name of Jahi Kearse who portrays the title character, Cool Papa Rose. Composer and music director William Knowles with a fab five jazzy combo keeps a steady hand on the undulating rhythm and syncopated beats. His soaring melodies and sweet tight harmonies flow seamlessly..." Debbie Minter Jackson, dctheatrescene.com

"...a tasty "fantabulous" evening of exuberant tap dancing, high-spirited hep steps, smooth slides, cheerful 60's swim moves and the silky movement of upper body and arms that an adult crane might mate to as the audience is taken through the trials of being a black entertainer in the 20th Century. This is a dancer's show, with the choreography of Maurice Hines front and center through-out. The cast brims with kinetic energy... The hoofing...is a high point of the production." David Seigel, PotomacStages.com

"a lynxlike hoofer....Kearse delivers a crystallized and charismatic [performance]." Celia Wren, Washington Post

"Two notable talents, author-director Thomas W. Jones II and choreographer Maurice Hines, have created a loving tribute to the entertainment styles of the 20th century through the figure of "the last American hipster," an African-American performer..." Susan Berlin, TalkinBroadway.com

"Cool Papa's Party tells the compelling story of a legend, and with a legendary cast and crew, this musical delights the senses." Donna Ledbetter, BellaOnline

"...so much talent over there in Alexandria at MetroStage." Rich Massabny, Arlington Ch.69

"...another wonderful biomusical...There was more electricity expended on this cabaret stage by the seven singer/dancers that could light up the city of Alexandria for a month. Jahi Kearse...was absolutely stunning in his acting, singing and dancing. He ruled the stage throughout and rightly so. His bandy legged dancing and undulating body musculature seemed to defy nature. The quintet [are] an exceptional variation jazz group. And noted dancer, Maurice Hines, gets kudos for his top rated choreography." Bob Anthony, AllArtsReview4U

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WETA's Around Town Theater Review

http://weta.org/watchonline/?playlist=/at_theatre&videoid=50053

More reviews from the critics...

SEE ALSO:

http://www.roomsmusical.com/reviews.html

What Everyone Is Saying About Rooms

"It is the best theatre production I have seen in a long time! This is the kind of performance that I would expect to see in NYC and London. Thank you, MetroStage, for bringing it to the DC metro area!" -Christina

"...a delightful surprise. Composer-lyricist Paul Scott Goodman and his wife and collaborator, Miriam Gordon, drew on Goodman's experiences in the punk rock scene of the late 1970's to create a gemlike intimate portrait of creative partners in music and love, by turns empathetic, funny and moving." -Susan Berlin, TalkinBroadway.com

"The show is terrific! ...folks should jump at the opportunity to catch this one! Congratulations to MetroStage!" -Cheryl

"It was absolutely amazing! Best play I've seen in YEARS! ...The characters are well-developed, the actors are brilliant. ...set was perfect, costumes [and] lighting [were] top-notch. ...There were some really beautiful moments. ...I will definitely be back for more." -Ann Marie

"Rooms is the most emotionally real and authentic musical this reviewer has ever seen. Imagine if Rent or Spring Awakening was condensed down to an intimate two person show and you'll understand the appeal of this powerful rock romance." -Steven McKnight, DC Theatre Scene

"...energetic...funny... Rooms is a great play to go to if you like musicals that rock." - Nathan P.

"The two actors give luminous performances, with the strong support of director Scott Schwartz." -Susan Berlin, TalkinBroadway.com

"I could scarcely sleep as the images, expressions, nuances and story floated in my mind... These two people were BORN to do this show. I doubt there are another two humans more suitable, capable, perfectly sculpted to perform this 'opposites attracted' rock opera! Kudos, kudos, kudos on a mega talented cast and band..." -Donise

"The two actors were outstanding... A very powerful rock musical."

"Natascia Diaz and Doug Kreeger are splendid together. They have a credible romantic chemistry and their Broadway voices blend well... every single moment between them feels honest." -Steven McKnight, DC Theatre Scene

"What a great show! Both of the performers were exceptional and very endearing. The band was fantastic!... MetroStage has done itself proud with this show." -Jim S.

"Great acting, great singing - I thought I was seeing a Broadway production..." -Barbara

"All of the production elements are top notch. Several of the numbers get classic rock concert lighting treatment keyed to the beat. This talented work by lighting designer Herrick Goldman really amps up the excitement of the show. Daniel Erdberg's perfectly balanced sound design helps you enjoy the sense of being at a concert while still keeping the lyrics and dialogue understandable. Alejo Vietti's costume design is an authentic representation of what the hip crowd wore back in the day." - Steven McKnight, DC Theatre Scene

"This World Premiere should not be missed and this 80 minutes intermissionless play flies by. MetroStage has themselves a real jewel. It's moving, funny, with a nice message at the end." -CharlesShubow, BroadwayWorld.com

"Beautiful, brash and bountiful play.. [that] features electric performances by a pair of musical theater powerhouses - Natascia Diaz and Doug Kreeger - of Paul Scott Goodman's rock 'n' roll and punk-infested score." -Lisa Traiger, Washington Jewish Week

What Everyone Is Saying About The Stephen Schwartz Project

"...the brand-new arrangements by John L Cornelius II soar in Bobbitt's bouncy revue, with medleys that blend well with enough solo material to feature almost every one of the nine bubbly performers." -Jolene Munch, The Examiner

"...Amber Iman Moorer, is still in college but possesses the poise and roof-raising voice of a seasoned professional, as does another student performer, Jobari Parker-Namdar." -Jayne Blanchard, Washington Times

"The Stephen Schwartz Project company (a cast of nine young, gifted performers) bookends the Project with rousing renditions of “The Spark of Creation” from Children of Eden." -GaryMcMillan, DCTheatreScene.com

"Director and choreographer Michael Bobbitt finds new ways to present well-known songs..." -Brad Hathaway, Alexandria Gazette Packet

"...this is a great venue to which I will certainly want to return. The cast showed tremendous talent and seemed to having fun with the material. The costumes were the best I've seen in a long time."

"[Florrie] Bagel enlivens 'West End Avenue' with her big, warm voice and ebullience and sings 'Since I Gave My Heart Away' with admirably straightforward lyricism. [Priscilla] Cuellar also eschews the vocal furbelows for simple, heartfelt singing in her solos 'Defying Gravity' ... and 'Where Is The Warmth.'" -Jayne Blanchard, Washington Times

"This is a lively musical revue... The cast is spirited with fine voices and the choreography is simple but well done."

"Felicia Curry is featured frequently enough to lift any audiences’ spirits, especially in the rousing “Ain’t It Good?” from Children of Eden.... Jobari Parker-Namdar delivers a very sweet rendition of “Cold Enough to Snow” that is heartwarming enough to melt a glacier. Kerry Deitrick sings beautifully through the challenging ballad, “Meadowlark"..." -GaryMcMillan, DCTheatreScene.com

"The cast's youthful appeal and skill with the demands of full-out Broadway-style singing make "The Stephen Schwartz Project" worth seeing." -Jayne Blanchard, WashingtonTimes

"...it was very entertaining... I think everyone should take advantage of this at this price. Where can you go in D.C. where any seat is a great one and be entertained at this cost? No where else."

"If you enjoy seeing a young troupe of talented performers sell the heck out of up-tempo tunes, catch this show." -Brad Hathaway, Alexandria Gazette Packet

Cookin' at the Cookery - Revisited by Debbie Minter Jackson

"There’s always a bit of trepidation when a key cast member steps into a successful show. Audiences wonder how the show will be affected, may have concerns about different interpretations, altering how it’s “supposed” to be. In the case of Jackie Richardson who replaced the “irreplaceable” Earnestine Jackson in Cookin’ at the Cookery, the prep work has already been done because she has already performed the role with the irrepressible Janice Lorraine in Vancouver. While this is a reprise of sorts for them, the change for us is a fresh new experience to be cherished the second time around.

Just when you didn’t think the production could get any better, here comes Richardson who shakes it up with her own mighty gifts, talents and interpretation to the role-and we are all the better for it. If you didn’t catch this stellar production earlier in the run, don’t let it slip away. It is just as much fun the second time around, and Richardson is a major reason why. Her voice and stage presence will blow you away.

Richardson has a particularly effective musical sense that goes beyond belting out the notes. Her whole body seems to breathe the musical tones, and her voice crests and flows with unbelievable crescendo effect. She’s got a hefty bearing that contributes to her no-nonsense stance packaged in a charm-your-socks-off, walloping delivery. Yes, she’s got all the fun-loving facial expressions to relay the message, but there’s something more, a warm accessibility and down-home appeal that makes her rather irresistible. When she refers to the audience lovingly as “children,” she envelops us all as part of the precious few who were fortunate enough to catch Alberta Hunter at the Cookery in New York in Ms Hunter’s unbelievable return-at 82 years old!!"

READ COMPLETE STORY AT DCTHEATRESCENE.COM >

AUDIENCE FEEDBACK

• “[Cookin' at the Cookery] was just wonderful. Both stars have excellent voices and did a great job of acting. This is theater at it's best. I encourage anybody that can to see this fabulous show.” -Sandy P


• “When I used to live in New York City, I had the privilege of seeing the real Alberta Hunter perform at the Cookery in Village, so I was very excited about seeing this production. The two actresses/singers were delightfully engaging and had the audience in the palms of their respective hands within minutes of their first entrances. The talented musical combo provided accompaniment which was jazzy and infectious. The narrative gave us some unknown insights into the life of this amazing woman and moved the story along at just the right pace. The intimate atmosphere of this theatre enhanced the feeling that the audience was included in the action. The audience I was with was fully engaged in the production, clapped and sang along on occasion, and were obviously having a great time. This is a crowd-pleaser not to be missed!”


• “Cookin’ was GREAT!! The music, the actresses (they were really "into it" —especially the pianist)… Their delivery, poise, warmth, intensity, etc. were SPECTACULAR! The gift of being able to portray several characters "at the drop of a hat" (voice, facial expressions, walk, etc.) was SPELL-BOUNDING! Plus to learn so much about Ms. Hunter - WOW!!!”


• “Not to be missed. Wonderful story and music. Besides that — only two women carry the whole show and they are stupendous!”


• “MetroStage always produces quality and entertaining theatre… the staff is friendly and professional and the productions are always interesting and thought provoking.”

WETA's Around Town Theatre Review of tick, tick...BOOM!

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