Regional Roundup: Top New Features This Week Around Our BroadwayWorld 1/26 - HAMLET, CABARET, CHICAGO, and More!

Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section!

Washington DC: Contributor Benjamin Tomchik reviews HAMLET starring Michael Urie. He writes "As the title character, Urie is thrilling to watch! Quick-witted and sly, when his Hamlet goes "mad" we are constantly left guessing about just how far he'll go. It's the type of performance that keeps you in as much suspense as the royal court in wondering 'what happened to the young prince?' Building on that is Urie's command of the script's inherit humor and Hamlet's constant state of turmoil over his father's fate. It is this inner doubt that fuels Urie as he drives this epic production."

Birmingham: Contributor David Perry reviews CARMEN at Opera Birmingham. He writes "Taking full advantage of the intimate space, Director Candace Evans was able to effectively convey the location of a small French chateau with much character and charm. "Carmen "is a grand opera famous for a giant orchestra and vast elaborate sets. The stage obviously had limitations to be able to hold a 100 piece orchestra, but to be honest, the smaller yet spacious venue amplified the power of the vocalists. Their projection felt focused and magnified. The singer's performances became as if they were an audio massage to the ear and body. You literally felt them singing through your body. It was an enjoyable experience that was very memorable and impressive."

New Orleans: Contributor Tara Bennett reviews BASKERVILLE: A SHERLOCK HOLMES MYSTERY at Theatre Baton Rouge. She writes "Most comedic interpretations of Holmes and Watson seem to be larger than life, or a little bit over the top. Not so with Grezaffi and Coats who serve as the straight-men roles for the three who portray everyone else, Kenneth Mayfield, Zac Thriffiley and Kacie Barnes. I recommend BASKERVILLE for anyone who appreciates pure theatricality because you will find it here in spades. While some accents are more effective than others, the three are hugely funny in their array of characterizations that you wouldn't realize it is the same three people playing different characters."

Louisville: Contributor Taylor Clemens reviews CHICAGO at the Kentucky Center for the Arts. He writes "Croman as Roxie Hart is flawless. She effortlessly provides the ditz and dizziness of a wannabe vaudeville star, all while gliding beautifully across the stage performing Fosse's signature moves, arguably the hardest of all dance disciplines to master. Lana Gordon equally matches Croman by providing a sassier take on Velma Kelly. Her voice is wonderful, and she never misses a beat leading several complicated dance numbers. Jeff McCarthy's Billy is smooth and sly. He is in great voice, and takes advantage of his musical moments. Paul Vogot is a lot of fun as Roxie's dumb as a rock husband Amos. He brings high comedy whenever he's onstage, and has the audience in the palm of his hands as he croons "Mister Cellophane." Last but not least is the fabulous Jennifer Fouche as Mama Morton, the Matron of the Cook County Jail. She wails her solos like nobody's business."

Washington DC: Contributor Jeffrey Walker reviews MAMMA MIA at the Riverside Center. He writes "Holding their own and making equally strong impressions as Donna's best friends, Grey Garrett is the haughty Tanya, and Andrea Kahane is a hoot as the free-spirited Rosie. Together, they make a strong trio, and mine their scenes for the comedy and pathos inherent in old friends supporting each other.Garrett gets a cougar song, of sorts, when she reacts to the attention of the island's young bartender, Pepper, which uses the ABBA hit "Does Your Mother Know." Rosie's big moment comes when she lets her proverbial hair down to vamp one of the mature gents and warbles "Take a Chance on Me."

Long Island: Contributor Melissa Giordano reviews ONCE at the Engeman Theatre. She writes "Broadway vet Andrea Goss superbly portrays the woman, a young Czech mother in Dublin, Ireland. Indeed an audience favorite is her moving rendition of "The Hill" in act two. Ms. Goss and a charming Barry DeBois, who portrays the man, make a sensational team. His torment in choosing what do to - rekindling his romance with his longtime girlfriend who recently moved to New York or stay with his new found love - is well exude by Mr. DeBois. To really feel their journey, pay extra close attention to the gorgeous score by Glen Hansard and Markéta Irglová who are also the stars of the movie version."

Dallas: Contributor Kyle Cristopher West reviews DADDY LONG LEGS at Lyric Stage. He writes "Despite the fact DADDY LONG LEGS is likely better suited for a venue cozier than the vast Majestic Theatre, director Richard Estes and scenic designer Randel Wright made the best of the space with simple yet sophisticated pieces to add weight to the stage. Had the staging and scenery been pulled 8 feet down to the stage's apron, perhaps the audience could have even better connected to the pair of nuanced performances that often felt miles away. Musical director Scott A. Eckert and his orchestra maintained Lyric's impressive reputation and offered appropriate support for the singers without overpowering their vocals. Lights, by Julie Simmons, and costumes, by Catherine Carpenter Cox, further enhanced the production."

Los Angeles: Contributor Michael Quintos reviews reviews CABARET at La Mirada Theatre. He writes "Beyond the staging, I also really enjoyed what this production had to offer. Here, the angled frames of John Iacovelli's set---lit effectively by Steven Young---opens up the infamous Kit Kat Klub from the usual claustrophobic dark box into a much more expanded space (with allowances for bursts of color once in a while) for these "beautiful" Euro creatures to retreat to from the harsh realities of the outside world. Inside, you'll hear the infectious hot jazz sounds from the production's rousing band led by musical director David O. that make an appearance once in a while from the rear of the stage (all donning similar short-cropped wigs). Out front and scurrying all around, the scantily-clad male and female ensemble---all (barely) dressed in form-fitting costumes by David Kay Mickelsen---provide caffeinated high-kicks and sensual Bob Fosse/Jerome Robbins-esque moves courtesy of choreographer Dana Solimando, whose work here is especially intoxicating."