Regional Roundup: Top New Features This Week Around Our BroadwayWorld 7/6 - THE CHER SHOW, THE KING AND I, 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 THE CHER SHOW, THE KING AND I, and More!

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

Chicago: Contributor Rachel Weinberg reviews THE CHER SHOW, writing "Of course, THE CHER SHOW succeeds most profoundly because it is dazzling-both visually and in terms of the three women who finesse the lead role. Christine Jones and Brett J. Banakis's scenic design and Kevin Adams's lighting design are fittingly decadent, but it is Bob Mackie's fashion parade of jaw-dropping costumes that steal the show. Mackie pulls out all the stops (and also appears as a character in the show, essayed by Michael Berresse). Cher's wardrobe contains wonder after wonder, in a neon bright array of colors and exquisite details-and a ton of sequins."

Austin: Contributor Frank Benge reviews MASS, writing "The performances, however, are the driving force of any production of MASS and this landmark production is blessed with amazing voices and performances. What makes this production so remarkable is that everyone is singing and acting simultaneously, making for rich and nuanced performances. Key among these is Jubilant Sykes as The Celebrant. Sykes clearly understands the character and is more than successful at communicating the mental turmoil of the central figure. His performance is frankly revelatory. Jacob Baird's crystal clear boy soprano voice is the perfect counterpoint to The Celebrant."

St. Petersburg: Contributor Peter Nason reviews URINETOWN: THE MUSICAL, writing "The ensemble is nothing short of remarkable. They sound amazing with too-die-for harmonies (thanks to music director Latoya McCormick) and are lively in their dance numbers (thanks to choreographer Jessica Scruggs, who includes a nod to "West Side Story's" "Cool" at one point). The cast includes John Patrick Owens, Robby Rob, Greg Kirby, Graham Mastro, Quint Paxton, Eva Campuzano, Ashlyn Baralt, Matthew Greer, Lexi Brigantti, Gabrielle Fehring, Nickie Berlage, Gregory Wiederect, Madeline Boggess, Sierra McCreary, Megan Ramsey, Elizabeth Esry and Jason Calzon. Special mention must go to Christian Torres as Hot Blades Harry, Alex Groth as Soupy Sue and Rebekah Stevenson as the pregnant Little Becky Two Shoes as ensemble standouts."

Houston: Contributor Gary Laird reviews SWAN LAKE, writing "Kristian Fredrikson, costume and scenic designer, goes all out with a faintly oriental palette reminiscent of Klimpt. The palace ballroom is ablaze with gold and scarlet, lit by enormous flickering chandeliers, while lighting designer Lisa J. Pinkham illuminates the scenes brilliantly."

Albuquerque: Contributor Maria Nockin reviews CANDIDE at Santa Fe Opera, writing "Helene Schneidermann was a lovable Old Lady whose part allowed Bernstein to remind the audience of his own background. She sang with misty tones as she reminisced about her origin in Eastern Europe. Baritone Jarrett Ott is fast making a name for himself because of his vocal and histrionic talents. He commanded the stage and sang with a great deal of resonance. Tenor Richard Troxell gave strong performances in three roles as a Governor, a ship's Captain and as the Dutch swindler, Vanderendur."

Maine: Contributor Carla Maria Verdino-Süllwold reviews BEAUTY AND THE BEAST at MSMT writing "The cast of thirty-two forms a dynamic, vibrant ensemble with every character - both large and small - fully fleshed out and individualized. In the title roles Lexi Rabadi as Belle and Darick Pead as the Beast sparkle. Rabadi, who reprises this part from the Fulton production, has an energy and vibrancy that make Belle undauntable; she exudes individuality and confidence, bravery, and determination, all the while radiating an inner beauty of spirit that ultimately proves transformative. Vocally, she brings a bright, youthful soprano capable of nuance and palpable emotion, and she lights up the stage in every one of her scenes. Darick Pead, who has played the Beast on national tour, makes a perfect foil for this Belle. Beneath trappings of the Beast, he harbors a childish willfulness as well as vulnerability, and he makes the character's journey to redemption one of empathetic struggle. His big act one number, "If I Can't Love Her" is heartbreaking and uplifting."

Japan: Contributor Cindy Sibilsky reviews NINJA BALLET writing "But the real coup de grace is the riveting clash between Sabaru (Tamai) and Scorpion (Ortiz). The two martial arts experts perform chanbara (sword fighting) with such a level of exceptional skill and artistry it's as if a scene from Kill Bill, Crouching Tiger, Hidden Dragon, any of the Japanese samurai films or even combat anime episodes had come to life, only there are no edits, cutaways or special effects, just years of training and exceptional talent performed within inches of their lives in the intimate space."

London: Contributor Debbie Gilpin reviews THE KING AND I, writing "Not only that, but it's obviously a treat for the ears too - Richard Rodgers' score includes some very recognisable songs (such as "Getting to Know You" and "Shall We Dance?"), and ranges from jaunty to heartfelt. It's always nice to have an overture and entr'acte (even if to some members of the audience it's an excuse to keep chatting), as it gives the orchestra their moment in the spotlight, plus it transports you straight into the world that's about to unfurl on the stage."

Regional Editor Spotlight:

Rachel Weinberg
Chicago Editor

Native Chicagoan Rachel Weinberg has been one of the most frequent contributing editors for BroadwayWorld Chicago over the past three years. She is currently pursuing a Masters in Integrated Marketing Communications from the Medill School of Journalism at Northwestern University. Rachel previously worked on the digital marketing team at Goodman Theatre and spent a season as a Marketing Apprentice for Roundabout Theatre Company in New York City. She earned her undergraduate degree in Communication and Spanish from the University of Pennsylvania. You can find her online at RachelWeinbergReviews.com and follow her on Twitter @RachelRWeinberg.

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