Review: CHANNING/TATUM Finds Snazz at The Green Room 42

Can the ghost of Broadway legend Carol Channing teach a himbo movie star how to find his inner “snazz”? Channing/Tatum at The Green Room 42 is a delightfully meta musical that follows Channing Tatum, a movie star desperate to prove himself as a “serious actor” through Broadway legitimacy, who becomes locked in a theater with the ghost of Channing. What unfolds is both a love letter to and playful critique of music theater and the entertainment industry at large, exploring themes of authenticity, vulnerability, and the nature of stardom.

Nina West’s Carol Channing is a masterclass in character work. Rather than settling for mere impersonation, he creates a fully realized character who embodies both Channing’s famous mannerisms — the dramatic eye movements and fluid hand gestures — and her sharp theatrical wisdom. West’s physicality is equally striking; towering over both castmates and audience members, they command attention even in silent moments, his expressive face constantly reacting and observing. Their powerhouse vocals, intentionally gravelly at times, are particularly effective during moments of mentorship and confrontation — they’re somewhat Channing, somewhat Grinch, but distinctively Nina West when he delivers pointed quips about authenticity in showbiz with perfect comedic timing.

Dan Amboyer’s journey as Channing Tatum provides the show’s emotional core. His transformation from someone uncomfortable with his character’s sexuality — which proved mistakenly assumed — to embracing vulnerability is genuinely moving. This arc comes to a head in the possession scene, where Amboyer hilariously acts out both Tatum’s discomfort and Channing’s delight at inhabiting a male body. His vocal performances match West’s energy with impressive nuance, creating dynamic musical numbers that drive the story forward. The show explores deeper questions about identity and performance through this dynamic.

DeMarius R. Copes deserves special recognition for their performance as “A Lot of Different People,” bringing depth to what could have been simple stereotypes. Switching effortlessly between characters — from a demanding Broadway investor to the fangirling prison warden — Copes demonstrates remarkable range and precision. Their quick transitions between accents and personalities keep the show’s energy high, and add layers of irony to the production.

The show is packed with clever one-liners and Broadway references that reward theater aficionados, while remaining accessible to general audiences. It grapples with themes around beauty and talent. When Channing reveals she “never was the pretty one,” it creates a poignant moment of connection with Tatum, who’s trapped by his own beauty, leading to a soul-baring discussion about being seen as nothing but surface. This conversation evolves into a larger commentary on impossible standards that affect performers across the spectrum. Small moments pack big thematic punches — like Channing’s observation that “investors don’t read scripts,” and the repeated motif of the ghost light, which doubles as plot device and metaphor.

This polished performance came together in just four days of rehearsal. While the actors performed with music stands, they created genuine moments of both hilarity and heart. The intimate setting of The Green Room 42 worked to the show’s advantage, allowing the audience to fully appreciate the subtle reactions and witty dialogue.

Some of the most intriguing questions remain deliberately ambiguous: Is “snazz” about being gay, or about being authentically yourself? Is the appeal of Broadway transformation, or revealing who you’ve always been? The show suggests these might be false dichotomies — perhaps true performance, like drag itself, is about both becoming and revealing.

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