Regional Roundup: Top New Features This Week Around Our BroadwayWorld 6/29 - SWEENEY TODD, THE COLOR PURPLE, WEST SIDE STORY, and More!

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature SWEENEY TODD, THE COLOR PURPLE, WEST SIDE STORY, and More!

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

Connecticut: Contributor Joseph Harrison reviews SWEENEY TODD at Connecticut Repertory Theatre, writing "While SWEENEY TODD does center around this nefarious twosome, the rest of the cast is the icing on the cake. As the evil Judge Turpin, Ed Dixon is slimy, sinister and someone you just love to hate. Turpin is typically played as a cold, calculated man, but Mr. Dixon makes some inspired choices with his portrayal, making Turpin a bit of a caricature of London high-society - oblivious to anything other than his deepest desires. As the Beggar Woman, Andréa Burns is also a thrill to watch - singing her dismissed warnings of "City on Fire" and crawling around the streets seeking a handout. Lu DeJesus plays a foppish Beadle Bamford and is deliciously subservient to the Judge's every whim. As Johanna and her infatuated beau, Anthony Hope, Emilie Kouatchou and Hugh Entrekin are excellent. They both display golden voices in each of their songs. Theirs is the love story, the one shining light in the darkness that inhabits the show. Nicholas Gonzalez' Pirelli is hilarious as he struts around touting his great skill (emphasized by one of the dozens of amazing costumes by Christina Lorraine Bullard). As his assistant, Tobias, Kenneth Galm is wide-eyed and full of energy. He shows off a gorgeous tenor voice in each of his numbers, but especially in the heartfelt "Not While I'm Around". And finally, the ensemble does a great job weaving the tale for the audience and serving as various victims and witnesses to this troublesome tale."

Costa Mesa: Contributor Michael Quintos reviews THE COLOR PURPLE writing "With so few moving parts, THE COLOR PURPLE still manages to feel like a living, breathing piece of alive theater. Here, the busy ensemble cast members---draped in period garb by costume designer Ann Hould-Ward and wigs by Charles G. LaPointe---become the sole mobile set pieces, intermittently walking in and out of scenes in mesmerizing choreographed traffic patterns with either just chairs or baskets, while interacting or just observing. Fabric is beautifully used in a myriad of interesting ways, from swaying laundry to pretend babies. Jane Cox's lighting design makes the space vibrant as well, creating moods that match each scene."

Brisbane: Contributor Jade Kops reviews Patti LuPone's DON'T MONKEY WITH BROADWAY, writing "Her physicality is fabulous with her facial expressions particularly delightful. Whilst many other performers opt to give Cy Coleman and Dorothy Fields Big Spender a lot of movement, LuPone's stillness for SWEET CHARITY's famous number taps in to deliver the truest expression of a tired, jaded taxi-dancer ever seen on stage as she conveys the ladies weariness and cynicism with only movement from her neck up in a deliciously nuanced performance. Her versatility to move between big bold ballads wrought with passion and anguish to poignant tender pieces, bright comic works and fantastic takes on duets is wonderful and keeps the concert moving with a range of emotions."

Vermont: Contributor Stacy Raphael reviews CRY IT OUT at Dorset Theatre Festival, writing "Metzler's play is a feat of carefully crafted character study. Over the course of the play, which runs nearly two hours without intermission, we watch two women build a friendship on the common ground of new motherhood despite their differences, particularly those of class."

Norfolk: Contributor Jeremy Bustin Virginia Repertory Theatre's WEST SIDE STORY, writing "Under the masterful direction of Virginia Rep's Artistic Director, Nathaniel Shaw, the production rolls with intention. Shaw finds subtle ways to weave themes of white privilege into the production, but also offers glimmers of a hopeful future of inclusion and representation. One of many notable moments is the powerful staging of "Somewhere" that paints a beautiful picture of multi-cultural love and acceptance. Anthony Smith's top-drawer orchestra and cast nail the complexities of Leonard Bernstein's score and Stephen Sondheim's lyrics. Sarah Grady's costume design is vibrant and captures the essence of New York in the 1950s. Scott Bradley's two-tiered set, complete with fire escapes, is functional. Occasionally sprinkling natural sounds from the street, Derek Dumais' sound design is very effective. BJ Wilkinson's lighting design signals shifting action and tone and adds to the creative brilliance of the production. Fight choreography by Gregg Lloyd and Shaw takes advantage of the nimble dancers."

Phoenix: Contributor Herbert Paine reviews ANNIE, writing "And then, there is nine-year-old Kate Williams, the youngest member of the cast, who very nearly upstages the whole enterprise with a totally endearing performance as little orphan Molly. But, more than endearing! To be true, Ms. Williams is incredibly gifted and talented, endowed with a personality, charisma, and sense of the stage that is jaw-dropping. I have no doubt that, in the next few years, she'll bring audiences to their feet in her own interpretation of Annie. Mr. Cooper may indeed be cultivating another Emma Stone."

Germany: Contributor Mark Janicello reviews MACBETH the opera writing "With star performers of this caliber, the Staatsoper spared no expense on the production design. The set by Hans Schavernoch, and especially the video projections of Thomas Reimer, were both gorgeous and very effective. Director Harry Kupfer and Costume Designer Yan Tax have moved the action to an undefined decade in the early 20th century. There are lots of epaulets, military uniforms, and refugees, none of which really add anything to Mr. Kupfer's very traditional "stand and sing" direction."

Kansas City: Contributor Alan Portner reviews SOUTH PACIFIC at Theatre In The Park, writing "Special cudos should go to all the featured actors. Paul Secor Morel has the requisite bass ranges needed for Emile. Madeline Clem stands out as singer and dancer, but even more for her comfort in projecting the emotion of the character to the furthest reaches of the enormous space. John Rizzo's strong musical theater tenor is my personal favorite vocal performance. Zenia Lee performs the mysterious "Bali Hai" with professionalism and verve."

Regional Editor Spotlight:

Jade Kops
Australian Senior Editor

I am an International Flight Attendant with a love of Cabaret, Musical Theatre, and Live Performing Arts in general. I try to see as many shows as I can, whether that be in my current home town of Sydney, other Australian cities or the International cities I visit with work. I am a graduate of the Cabaret Summer School 2012-Adelaide and have also been a Special Guest Critic for GlamAdelaide for the 2012 Adelaide Fringe Festival, specialising in Cabaret.

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