What I liked
Dead John is the rare original musical that elevates and exceeds its enclosure, and will continue to do so at every level. The Madnani is a terrific theater and one of the Fringe festivals’ most capable and comfortable venues, and Dead John makes the 49-seat theater feel like a 100+ by delivering huge, high-production-value everything from start to finish. Musical numbers and performances that deliver again and again and again. Ambitious special effects and set pieces that work incredibly (and still would from the balcony). And an ensemble of actors whose talent, chemistry, characterization makes you believe in and feel for every one of them.
And feel lucky you got to see ’em when tickets were still only like $25.
Dead John will likely (and hopefully) keep moving to larger and larger theaters and it’s still going to feel big on Broadway.
Tyler Rivera Stein’s outstanding music and lyrics gives audiences 13 incredible, irreverent-in-the-rock-and-roll-sense-but-reverent-in-the-humanity-sense songs that stay stuck in your head for… well we’ll see.
Logan Horberg’s book weaves a story of friendship, ambition, betrayal, betraaayal, creativity, collaboration, and capitalism that’s hilarious, effective, and populated by interesting, independent characters, interconnected by narrative not necessity.
Like the show itself, Claire Jansen has a voice that will captivate from whatever distance theaters decide to put seats. Her Ruby delivers a sincere portrayal of a second in command struggling with an ethical and organizational minefield and a series of amazing vocal performances that make you go “oh ****, I thought I was dialed in already, ok.”
Sophia Marie Rizzo’s performance as Stevie is perfect. She has all the bravado, presence, attentional-demand, and inevitable charm, of a fame-hungry rockstar, and the vocals to back it up. I felt bullied into fandom from the third row in the best way possible.
Gabriella Certo’s Trinity provides an amazing singing voice voice and terrific personification to the third branch of the bands’ quandry response crew in a performance that’s immediately relatable, genuine, and still big enough for the huge scope of this production.
Joya Mia Italiano has created a Lizzie that is so cool her “I told you so”s feel like a compliment. Of course she was right, but at least she was thinking about you. Joya delivers a performance, musically and theatrically, that is awesome in its own right, and doubly so because it’s so frequently set against Sophia Marie Rizzo’s Stevie and the two elevate each other’s characters to another level.
Renee Cohen gives audiences an extraordinary and fresh rendition of one of the most sinister, evil, and ubiquitous villains in theological and philosophical history; the band manager. With a side hustle in eternal damnation. Renee’s characterization, energy, and physical performance carry all the gravitas, freneticism, and fleeting promise you’d expect from the devil, paired with a voice, both speaking and singing, that makes you really understand why someone would sign their soul away.
Paulina Celeste is so funny, committed to, and transparent in her characters’ feelings that there’s never a moment of doubt about how her sentiments and always a new and creative way that that information is delivered. Paulina is truly fun to watch and has a talent for creating a character that you’re convinced continues to exist outside the confines of the play.
Tasha Taylor is a master of comedic timing, rythym, and timbre and the perfect casting for Keira, the drummer. Tasha’s commitment, characterization, and delivery rightfully earn her some of the biggest laughs of the show and she showcases an amazing talent for cutting tension, finding comedy, and carrying momentum. She delivers a performance and character you can always trust to put a button on a scene.
Brittany Hoza is one of the most contagiously funny performers, capable of delivering high-energy, highly-stylized characterizations, without crossing the line into artifice. Whether it’s her extraordinary personification of Gail, the endlessly effervescent talk show host, a groupie, or even Tom Waits, Brittany carries a comedic spark that gets the audience almost laughing before she even starts delivering the line.
Kaylee Jaye, as the Bartender, delivers a performance that adds new life at a point in the play where a lot of the cast have lost theirs (sorry, spoilers) and creates a character that perfectly walks the line between camp and sincerity in a way that would make the population of Margaritaville proud. A talented singer, and gifted at finding fresh character perspective, Kaylee adds something special to each of the roles she plays in the piece.
Roo Dawn Spear is addictively hilarious, tremendously versatile, and incredibly talented in her performances as John (living and dead), and the funerary priest whose name eludes me, but whose vibe could never, thanks to her realization of the character. Roo’s performance, from the very beginning, uses incredible physicality, a few of the most fun lines in the play, and a scream that belongs on the big screen and in our nightmares, to perfectly establish the conflict, stakes, and set off the plot of the piece. It also keeps you looking for her in future scenes, where she never disappoints. Including her chill priest who stands torn between intrigue and incredulity during one of the show’s most fun songs, providing a hilarious and rewarding touchstone for the audience throughout the number. Roo’s theatrical talent, comedic sensibilities, and physical commitment elevate all of her characters and make her an exciting actor to watch.
This cast is good,
This play is good.
This music is good.
This show is good.
What I didn't like
N/A
My overall impression
Dead John is so terrific, well conceived, and well-executed, it makes you wonder if its creators didn’t make a little deal of their own…
Worth selling your soul to get tickets.
