Amanda Prahl - Page 2

A Killer Party has figured out exactly how to tap into digital-theatre-era frustrations and jokes. A murder mystery that leans gleefully into the campiness of the genre more than the horror, the soundtrack to this video-conferenced musical is as far from deadly dull as it gets.

Alternately funny and touching, Artists in Residence is a reminder that, even in frustrating days, creativity and community shine a light.

Bobby Conte Thornton's new album, Along the Way, puts a new spin on some of the best of pop and Broadway. It's further proof that he's definitely one of Broadway's rising stars to watch.

Sing Street is a rollicking ride, packed with youthful energy and eloquent emotion a?" it's the kind of album that makes you want to see the show as soon as you can.

Where the first couple of weeks heavily featured monologues directly about the pandemic situation, more and more of these recent monologues are changing direction, portraying the 'new normal' with all that entails.

As the shutdowns continue and it becomes increasingly obvious that a?oeregulara?? theatre isn't starting back up as soon as we'd hoped, it's also increasingly obvious that adjusted, adapted performances like these are more important than ever.

Broadway may be dark and silent right now, but the theatre community isn't. After a successful first run, The 24 Hour Plays: Viral Monologues returned on March 24 with a fresh set of quarantine-inspired short plays and monologues. Since 1995, the 24 Hour Plays project has been matching up writers and performers to create funny, moving, and emotional mini-pieces of theater in, well, 24 hours. The response to the quickly-adapted March 17 edition was so overwhelming that a sequel was immediately born.

When all this is over, one of the enduring cultural moments of the coronavirus pandemic will be the memories of the music. Across the world, people have been turning to music for comfort and community. Clips have gone viral of Italians holding nightly singalongs from their balconies and Spaniards jamming out together from a distance. And here in America, the performing arts community has been coming together to produce all sorts of remote content. The most high-profile of these to date is the one-off 'revival' of The Rosie O'Donnell Show, which streamed live on Sunday, Mar. 22. It was a testament to the power of community (and the humor of technical problems).

There's certainly plenty of nostalgia and good cheer at work in Matthew Morrison's selections, but in some ways, they could have used a bit more pixie dust.

Going into a show titled Emojiland, you're probably not expecting allegories about immigration, politics, mental illness, and the ups and downs of the human condition. Surprise! Keith Harrison and Laura Schein have created a musical that's remarkably straightforward and thoughtful underneath its gimmicky, colorful exterior. The score is alternately silly and insightful, making it a genuinely delightful listening experience.

If we're being honest, we can probably count on one hand the number of viewers who went to see Tom Hooper's ill-advised movie version of Cats for the music. Andrew Lloyd Webber's music has never really been the appeal of Cats; it's always been the visuals and the brand more than anything that allowed it to become an iconic piece of theatre pop culture. As you probably expect, the soundtrack for the movie does very little new, but dutifully recreates the score with a talented all-star cast.

Tyrell, a new concept album, imagines what three supporting characters were up to during the early days of Game of Thrones. The concept is interesting on its own, but the skillful execution by the writer and performers on the album elevate it to something sure to have appeal outside of Thrones die-hards.

Historically, superhero concepts and musical theater don't tend to mix well. The off-Broadway musical Superhero, with a score by Tom Kitt, fares somewhat better. It's not breaking new ground, but it's a pleasant album with a big heart.

If you're looking for a traditional show, Octet isn't it, but if you're looking for a smart, often witty meditation on technology in the modern world, this definitely is it.

Kristen Anderson-Lopez and Robert Lopez, who won Oscars for their work on the original Frozen, return with a new batch of songs that are a little more melancholy and a little more mature, but also lack a little bit of the sparkle that set the original apart. Sequels are always hard, and the Frozen 2 soundtrack proves that true.

Pairing Michael Ball and Alfie Boe together for an album of standards seems so intuitive, it's no wonder this is their third album together. Back Together reunites the two stars for an album and a concert tour, covering everything from mid-century standards to contemporary pop-Broadway hybrids. There's little in the way of surprise on this album, but in some ways, that's perfectly fine a?" Ball and Boe know what works for them (and for us), and they lean into it.

Beau, a new musical by Douglas Lyons and Ethan D. Pakchar, has a sound that combines country, folk, and funk sounds and a sweetly internal story. It's a refreshing change of pace that's sure to enter your music rotation.

It's pretty much a rite of passage for vocalists to put together a holiday album, and this year, it's Lea Michele's turn, with Christmas in the City. For the most part, it's a perfectly lovely addition to the Christmas genre.

Every now and then, there's a bright new piece of theatre that finds a way to be innovative and fresh while still embracing some of the exquisite structure that's come before. That's definitely one way to describe Michael R. Jackson's A Strange Loop.

Kristin Chenoweth's latest album, For the Girls, is, just as its name suggests, a celebration of songs by, about, and for women. Chenoweth croons her way through a selection of standards, occasionally with the help of some other incredible female vocalists. It's a lovely album with plenty of top-notch performances; the only flaw is a little bit too much same-ness.