Frank Loesser's score has some fine moments, Adam Veness' vineyard set is impressive, and newcomer Molly Hernandez' powerful soprano and radiant stage presence is a huge new talent who seems poised for stardom. None of these plusses, however, offset the misogynistic book and lyrics embedded in this 1956 operetta. (Read Catey Sullivan's entire review...)
SOURCE: Chicago Theater Beat at 07:31PM on April 28, 2017