Traditional arts journalism is in decline. Now more than ever, this independent website and our podcast fill a growing void.
We've had over 1.5 million page views, and are grateful that you are here.
We rely on readers — and a handful of advertisers who share our values — to make our work possible. When we raised funds for our podcast, The "Performers Podcast," the average donation from people like you was $96.
Now we hope you’ll join us in augmenting our coverage of arts in the region by making a one-time donation today.
“I resist, in general, the tired conservative complaint that the ’60s ruined everything. Except in one area: the great American musical. From Hello, Dolly! to Hair, it’s a parade of false, manipulative, overwrought sentiment… I never experienced the delight that Sancho or the Innkeeper clearly feel in being charmed by the mad knight, and never saw the world as Quixote sees it.”
“[Steve Ross] plays the part with an inarticulate – and hilarious – dry pragmatism, alternating between enthusiasm for and frustration with his master (never more evident than in “I Like Him”), be it Cervantes or Don Quixote…Spanish flair in the score…it is hard not to sway to the Latin rhythms, or not to feel moved at play’s end.”
“Robin Hutton makes [lady Dulcinea]…honest and believable. The level of physical and vocal athleticism that is required for this role must be a daunting task. Props to Ms. Hutton for delivering! It is also impressive that she does not shy away from portraying Aldonza’s rough edges, sometimes singing lines with the exasperation and ferocity that the character is feeling in the moment.”
“As the Padre, Sean Hauk is able to turn a secondary role into a star turn. He is warm and charming, and his smooth voice seems especially suited for “To Each His Dulcinea.” A scene was always stronger for having him in it. Less strong was Robin Hutton’s Aldonza, the object of Quixote’s misguided affections. Ms Hutton plays almost every scene at the same level (that is to say loud and intense) and her energy is always forced“
“Rooney, a strong vocalist with a keen understanding of the character, deals nicely with the duality of the man – real and imagined. It’s a tight-rope walk that he pulls off with nary a slip. Consider once again the challenge involved.”
“In the absence of a synthesizing directorial vision, Tom Rooney, a gifted actor who can sing, flounders as Cervantes/Don Quixote, at least until the end when Don Quixote dies while holding onto his dream. The scene is appropriately touching.”