From a far away land called New York, there is a wondrous thing built in the city–a whole area of the city dedicated to the bold actor, smoke machines, and catchy chorus lines. This land is called Broadway and I have returned from it.

The week before spring break, a few students from journalism, Ms. Wallace, Ms. Pesterfield, and I ventured to this large city to attend the Columbia Scholastic Press Association Convention, but while we were up there, we decided to see three Broadway productions. In my eyes, any work of theater is beautiful. I KNOW the effort and the planning and creating that goes into putting a work of art into motion and sound. It isn’t easy and I am very emphatic of that–therefore I am nearly incapable of writing a negative review for any work of theater.

The three productions we saw were each uniquely compelling and moving. I will attempt to review them and convey the emotions I felt with each.

NIGHT ONE: LES MISERABLES

The first night of my Broadway adventure began with a crash of thunder and a sudden downpour out on the streets behind the theater. Running for shelter within theater, I was halted by a crowed of people. After I passed the ticket line and climbed up the stair to our AMAZING seats (we were on the second floor, second row and could see the orchestra below the stage).

The lights are shut out, a haze of smoke on the stage, and then the slave rowers are illuminated by a murky light. The overture was so powerful for me, within less than three minutes of it, I was in full tears–ugly crying. The first half of the production had me in absolute tears. From the death of Fantine to Thendiere’s catchy “Master of the House” piece–I was choking on tears and laughter.

When it comes to reviewing a classic–there’s not much you can say. Classics are classics for a reason. The only thing you can reflect on is the company and how well they pulled the production off.

To all naysayers, I apologize. I have no unsavory words for this production. John Owen Jones was Jean Valjean and Earl Carpenter played Javert. The two of these actors had wonderful chemistry on stage–conveying every emotion that demanded to be heard. The company had a wonderful Eponine played by Brennyn Lark; who, out of the entire cast, was my favorite actor. Eponine is a very strong role to play and this young lady executed and fulfilled my every expectation.

Les Mis is a beautiful story in itself, but this production drew out the emotion and set it on fire with passion. If you catch yourself in New York any time within the next couple of months, I would highly recommend seeing this production–especially because it will be taken off Broadway in a few months. Catch this classic while you can.

NIGHT TWO: THE SCHOOL OF ROCK

Most people remember the hit movie that came out in 2003, The School of Rock, starring Jack Black, Sarah Silverman, and Miranda Cosgrove (to name a few). I can still remember seeing it for the first time (I was then 6) and thinking it was the coolest thing on the planet. Well, I was blown off of my feet when I discovered that one of my favorite childhood movies was made into a Broadway production.

The theater was by far the most beautiful one we visited. The set for the production was really simple–tall speakers on each side of the stage. The cast was great. Every single kid “in the band” could actually play the instrument their character played. These kids were good. Really good. They totally blew my socks off.

The storyline itself was basically the same except for there was more insight in the characters that lose some of the spotlight in the movie. Overall the production was well done. The two adults with us loved it–it was any age friendly. Personally, I felt at times it was a little too “young” for what I was looking for in a Broadway production (especially after my Les Mis night), but still pleased.

NIGHT THREE: AN AMERICAN IN PARIS

The third night we had not actually planned to see another Broadway production. However, an enchanted Ms. Pesterfield couldn’t resist another night. We had thrown some ideas around (I was pro the new modern take on The Crucible), but we finally settled on a newer production out that had gathered up a few Tony’s–An American in Paris.

Inspired by the film bearing the same title, the musical stands as more of a ballet on the stage. The choreography is extremely diverse–ranging from ballet to jazz dancing. Choreographed by Christopher Wheeldon, the production has gathered a lot of attention.

At first, I was a little perplexed at the concept of dance over song; the opening scene with little to no dialogue and all dance. Initially I thought this would be a problem, a bore, and a pain, but as I closely observed the dancing, I noticed how very emotional and expressive and intentional everything was. I was enchanted. It was by far the most beautiful piece of art I’ve seen in motion. This production has all the potential to become a classic, and I don’t think we’ve seen the last of Wheeldon’s choreography.

IN SUMMATION: WHAT TO WITNESS

If you were to be going to New York any time within the next few months (if you can’t get tickets for Hamilton, which you can’t–we know and you 100% can’t), I would strongly suggest seeing the Les Mis production that’s currently on Broadway. It’s beautiful, it’s got a little something for everyone, and it’s truly a theatrical masterpiece that will remain in memory long after the curtain closes. Despite the fact that this is my pick, I still would HIGHLY reccomend An American in Paris or The School of Rock. Either way you choose, any of these productions will enchant and dazzle–Broadway settles for nothing less.