When the social media star of highschool realizes she has no genuine friends, she attempts to connect to someone by catfishing the only genuine guy in school. But after people start to discover her true identity, she has to quickly choose between popularity and authenticity.
Authenticity: The Musical
Critics
LemonMeter
Reviews: 3
Reviews
But if Authenticity: The Musical lacks clarification and a capable cast, what it doesn’t lack is a bounty of promise.
John Cassidy’s script, while in need of work, is strong and scattered with insights. The score by Michael Vanbodegom-Smith (with contributions by Garritano and Jimena Ochoa), is impressive in addressing the crucial demands of any musical.
WOW! As a former high school theatre arts teacher, I am amazed at the wonderful talent and true-to-life story taking place in this world premiere production. It always amazes me when I am out in public how people are always on their phones and don’t speak to each other in real time. And that’s not just teens but adults as well. This musical deals with that issue; kids trying to be who they think they want others to see them as rather than being honest about who they really are and their real feelings and problems.
The two leads, Norman Thatch as Hudson and Erika Cruz as Aurora (who pretends to be Terri online) take you inside their hearts and souls as they attempt to deal with their judgmental friends while attempting to be authentic with each other. But just who is being real? Is anyone?
Bravo to the entire production team and cast for bringing attention to this noteworthy musical about teen angst and the pressure to fit in, even when feeling as if “I am Not Enough” or “I am Too Much” with each other.
Great strings added to the scenes of heartbreak during the musical, with effective and attention-grabbing small stage choreography throughout. I especially enjoyed the “classroom” scene watching the teacher ruminate about the kids all on their phones, then taking them away which resulted in a major dispute played out through song and movement. Such heart-wrenching lines, such as “We don’t have to be nice because people already like us,” “if everyone is agreeing to the same things (online), it must be right,” and “what does it cost to be deep and authentic?”
Great lighting effects enhanced the scenes, although several times the young performers seemed to miss their marks and sing in the dark for awhile. Good sound engineering during the virtual presentation with the dialogue and songs clearly heard throughout.
Kudos to the entire production team and cast:
john cassidy - playwright and director
noelle hall - producer
vanessa hannish - assistant director
avery potemri - choreographer
melaney garcia - choreographer
jimena ochoa - producer
michael vanbodegom smith - composer
norman thatch - hudson
erika cruz - aurora/terri
amanda boutaud - casey
giancarlo garritano - mr starlson
faye turner - paxton (the girl always in red)
jeffrey delfin - simon
eddie mayer - vinnie
rachel logan - ensemble
I must admit there is a generation chasm between the characters in this show and this reviewer. It took me a while to understand exactly what was happening and then I only asked why was it happening? The play doesn’t end so much as it just stops dead in its tracks before it reaches the one-hour mark.
But if Authenticity: The Musical lacks clarification and a capable cast, what it doesn’t lack is a bounty of promise.
John Cassidy’s script, while in need of work, is strong and scattered with insights. The score by Michael Vanbodegom-Smith (with contributions by Garritano and Jimena Ochoa), is impressive in addressing the crucial demands of any musical.
WOW! As a former high school theatre arts teacher, I am amazed at the wonderful talent and true-to-life story taking place in this world premiere production. It always amazes me when I am out in public how people are always on their phones and don’t speak to each other in real time. And that’s not just teens but adults as well. This musical deals with that issue; kids trying to be who they think they want others to see them as rather than being honest about who they really are and their real feelings and problems.
The two leads, Norman Thatch as Hudson and Erika Cruz as Aurora (who pretends to be Terri online) take you inside their hearts and souls as they attempt to deal with their judgmental friends while attempting to be authentic with each other. But just who is being real? Is anyone?
Bravo to the entire production team and cast for bringing attention to this noteworthy musical about teen angst and the pressure to fit in, even when feeling as if “I am Not Enough” or “I am Too Much” with each other.
Great strings added to the scenes of heartbreak during the musical, with effective and attention-grabbing small stage choreography throughout. I especially enjoyed the “classroom” scene watching the teacher ruminate about the kids all on their phones, then taking them away which resulted in a major dispute played out through song and movement. Such heart-wrenching lines, such as “We don’t have to be nice because people already like us,” “if everyone is agreeing to the same things (online), it must be right,” and “what does it cost to be deep and authentic?”
Great lighting effects enhanced the scenes, although several times the young performers seemed to miss their marks and sing in the dark for awhile. Good sound engineering during the virtual presentation with the dialogue and songs clearly heard throughout.
Kudos to the entire production team and cast:
john cassidy - playwright and director
noelle hall - producer
vanessa hannish - assistant director
avery potemri - choreographer
melaney garcia - choreographer
jimena ochoa - producer
michael vanbodegom smith - composer
norman thatch - hudson
erika cruz - aurora/terri
amanda boutaud - casey
giancarlo garritano - mr starlson
faye turner - paxton (the girl always in red)
jeffrey delfin - simon
eddie mayer - vinnie
rachel logan - ensemble
I must admit there is a generation chasm between the characters in this show and this reviewer. It took me a while to understand exactly what was happening and then I only asked why was it happening? The play doesn’t end so much as it just stops dead in its tracks before it reaches the one-hour mark.