Critics’ notebook: Short reviews of ‘Seussical’ in Selma, ‘Hadestown’ at CMT, ‘Considering Matthew Shepard’ at Coro Piccolo

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Also: I really liked the Wickershams, a trio of monkeys (played by Manuel Dolores, Tyler Delano and Joshua Botello-Nieto) that scamper about making mischief. They bring a bit of grit to what could be an overly saccharine world.

In the end, “Seussical” is a hugely complicated show and essentially a sung-through operetta; the company took on a real challenge with one. The wit and wisdom of Dr. Seuss shine through in this performance, and for that, the Selma version is successful.

— By Donald Munro

‘Hadestown: Teen Edition’

Performed by Children’s Musical Theaterworks; finished its run May 11 at CMT’s Black Box Theatre

Children’s Musical Theaterworks (CMT) put on one of their two 2025 inaugural black box theater productions that I was immediately intrigued by and excited for– Hadestown: Teen Edition.

“Hadestown” is a musical rendering of the classic tale of Orpheus and Eurydice, an ancient Greek myth in which a musician journeys to the Underworld to face Hades in an attempt to save his wife.

The musical has become increasingly more popular after stars like Jordan Fisher and Lola Tung assumed the lead roles of Orpheus and Eurydice for a short run.

In fact, CMT isn’t the only local company putting on the show this year. Selma Arts Center is also doing “Hadestown: Teen Edition,” which will run from Aug. 15-30. Additionally, Broadway in Fresno will be hosting “Hadestown” early next year in their 2026 season.

Clearly, we’ve got some “Hadestown” fever on our hands. But, hey, I’m not complaining – it’s one of my favorite musicals, and CMT’s rendition did not disappoint.

The company did an amazing job at transforming the space into Way Down Hadestown. I’ve never been to CMT’s black box theater before but when I turned the corner inside Sierra Vista Mall, I was not expecting the theater to look as amazing as it did.

The space was completely reworked, complete with lifelike trees, balconies and gateways to the Underworld. Even more so, I was impressed with the creative ways they utilized their space to bear resemblances to the Broadway stage production without the same levels of technology.

One of my favorite parts of “Hadestown” is that they do it on a turntable, and I was curious to see how CMT was going to simulate that in their theater. Their substitution was genius and added an extra degree to their visual appeal – the ensemble flawlessly slid prop tables and chairs around underneath the actors’ feet as they sang. Doing this created that same turntable effect that the original production possesses, but also looked really cool as the ensemble was essentially forming that set piece in real time.

Props to the cast on both sides of this maneuver – not one ensemble member faltered with the set pieces, and the singers atop the tables didn’t once look down. It was a true test of the trust this cast held in each other and their creative directors.

Speaking of the cast – wow. What a talented group of kids. My attention was immediately captured by powerhouse vocalist Vega Ankrum as Hermes. I loved the sparks of femininity that she brought to this gender-bent version of the role. She totally owned it, and her songs were in such a sweet spot for her range.

I also have to give my flowers to Londyn Lacy as Eurydice, who brought the perfect balance of softness and sass to my personal favorite character in the show. Eurydice is traditionally tough and jaded, but Lacy was able to capture this and simultaneously add her own gentle touch to the role. In her interpretation, I saw a new side of Eurydice’s character. Her youthfulness made her story even more sad, and I really liked that.

Of course I can’t forget Maverick Morrison as Orpheus. That little songbird is going places. “Wait For Me” is my favorite song on the soundtrack, and one of the hardest to sing – but he exceeded all of my expectations. Bonus points because Orpheus also has to play the guitar atop his tenor track, and Morrison killed it.

Finally, I have to raise my cup to the costuming department. Each character’s costumes were fun, accurate and most importantly appropriate. I loved their takes on Hermes and Persephone specifically; my eyes stayed on their costumes throughout the performance.

Overall, I think CMT did a fabulous job with “Hadestown: Teen Edition.” This was my first impression of their company, and I will definitely be returning to their audience for future productions. Word to the wise: You’re in for a front row seat to see just how talented the next generation of theater kids are.

— By Olivia Pavao

‘Considering Matthew Shepard’

Coro Piccolo, Quintus and Altissima (Fresno Community Chorus); performed May 17, St. James Episcopal Cathedral

How to remember Matt? The choir sings: “He made friends and he wore braces and his frame was rather small.”

Such is the beginning of Craig Hella Johnson’s moving and transcendent choral piece “Considering Matthew Shepard,” which Coro Piccolo performed with considerable verve and emotion in a recent concert that made me think much of the vast capacity for humanity to do wonderful things — like write and perform this piece. And also terrible things, like assault a young gay Wyoming man viciously and then leave him for dead.

Music director Anna Hamre brought an exquisitely honed sense of compassion and tenderness to the performance. Yet she never allowed the material to suffer from sentimental bloat.

The music itself often had a Broadway-type feel in terms of telling that story, with the lyrics becoming just as important as the notes themselves. (At times the specificity of the material reminded me of the recently deceased composer William Finn of “Putnam County Spelling Bee” fame and the way he was able to capture character with a few vivid words.) Matthew Shepard liked jogging, pasta and “Jeopardy.” That will stick with me.

The first part of the program featured the small men’s chorus (Quintus) and women’s chorus (Altissima), both of which continue to impress me at every turn.

I’ve been to many emotional concerts conducted by Hamre, but there was something special about this one: It was as if everyone in the room were connected, from the soloists and singers and (wonderful) professional orchestra to the audience members themselves. We were all plugged in to the same musical current. It was beautiful.

—By Donald Munro

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