Chicago Tribune - Somewhat Recommended
"...Zak's production is close — but not quite close enough — to giving the dichotomies that drove Allen as a man and a performer space to breathe in between the show-stopping numbers. But as a reminder of just how fluid and wide-ranging Allen's musical abilities could be, "The Boy From Oz" works just fine. It's a suitable and sometimes-touching valentine to an artist who died too soon."
Chicago Sun Times - Recommended
"...Pride Films & Plays’ impressive Chicago premiere of “The Boy from Oz” – the jukebox musical about the life of Peter Allen, the Australian-born performer, Grammy and Oscar-winning songwriter and sexual adventurer who was widely known for his connection to both Judy Garland and her daughter, Liza Minnelli – is the latest reminder of just how good this city’s smaller theater companies have become at producing Broadway musicals on an intimate scale."
Chicago Reader - Somewhat Recommended
"...It's a showbiz musical, which means it requires us to sit through about two dozen of Allen's cloying, mostly forgettable songs. More important, the show's commitment to those songs precludes the possibility of confronting Allen's most affecting trait: his striving mediocrity. Despite Chris Logan's give-it-all performance as Allen, this Pride Films & Plays production isn't strong enough to transcend the negatives."
Windy City Times - Recommended
"...The Pride Films and Plays company employs a panoply of resuscitative devices toward the rescue of material reflecting a sentimentalized 2003 view of 1980s nostalgia for 1950s sensibilities. Robert Ollis endows his arrangements of the score with a refreshing variety, incorporating exotic instruments ( e.g., fluegelhorn ) into his orchestral arsenal. Cameron Turner's dance choreography adds fresh vitality to his retro kinetic vocabulary, as does John Nasca and Brian Estep's wardrobe. Finally, under David Zak's direction, Nancy Hays and Michelle Lauto deliver uncaricatured Judy and Liza impressions, while Chris Logan's title character projects a stereotype-free masculinity hinting at the charisma that eludes his would-be hagiographers."
Gapers Block - Recommended
"...The Boy From Oz benefits from some excellent performances. Logan as Peter Allen is a slender, wiry song-and-dance man and flirtatiously relates to other performers and to the audience in some of his diary commentary. Both Hays and Lauto become their mother-daughter characters by suggesting their personas, rather than trying to imitate them."
Stage and Cinema - Highly Recommended
"...True to his non-negotiable talents, artistic director David Zak finds the right player-singers, some Fosse-fierce, tap-dancing moves (from choreographer Cameron Turner), omnicompetent musical direction (Robert Ollis), storybook sets (Katie-Bell Springmann), time-traveling costumes (John Nasca), and a context-crazed video design (G. "Max" Maxin IV)."
ChicagoCritic - Highly Recommended
"...Zak has also arrayed an impressive ensemble, and enlisted choreographer Cameron Turner for show stoppers inspired by their historical Fosse counterparts. John Nasca has designed several sequin-studded costumes for each performer, besides Allen's Hawaiian shirts, which help to create the world of Allen's memory, and are a treat in Stage 773's intimate space. Nick Enright's book is far from perfect; a lot of dialogue, particularly early on, is stilted and awkward."
Chicago Stage and Screen - Recommended
"...With the spectacular choreography from Cameron Turner and the musical direction from Robert Ollis, director David Zak combines with his incredibly talented cast to show an incredible grasp of the finesse and style of Peter Allen. While there are still rough edges, the biggest credit to Zak is not allowing his show to fall into the easy, self-indulgent, melodramatic pace that could hurt any production. He and Logan approach the show with such beautiful honesty that, despite an occasional stumble ramping up to a big emotional blow, each song still leaves the audience a bit breathless. Perhaps the stumbles in this show can be attributed to a weak script attempting to do too much or perhaps it's just hiccups that will smooth out as the run goes, but with all the talent Zak has assembled for his production, there's more than enough to enjoy-lifelong Peter Allen fan or not."
Around The Town Chicago - Highly Recommended
"...If you don’t know Peter Allen’s music, you are wrong! You DO!”Rio”, “Once Before I Go”, “Every Old Is New Again”, “Not The Boy Next Door”, “When I Get My Name In Lights”, “Come Save Me” and of course “Best That You Can Do”! There are many more wonderful songs in this solid production that will bring a smile to your face and a tear to your eye."
Chicago Theatre Review - Highly Recommended
"...This shimmering, splashy production absolutely lights up Belmont Avenue. David Zak has wisely elected to showcase Peter Allen's songs, dance numbers and electrifying showmanship over the show's weaker script, although the Aussie performer's story does come through in fits and spurts. In the title role, Chris Logan absolutely owns this production. He's the reason to see this production as he completely transforms into Peter Allen and makes the entire stage his own. Although the book is loose and episodic, and seems to exist merely as a way to connect Allen's music, Pride Films & Plays' latest offering is an entertaining, enlightening tribute to a man who brought so much life and joy to everyone around him."
Huffington Post - Recommended
"...Physically, the show impresses, using the compact Stage 773 space to full advantage (scenic design by Katie-Bell Springmann). A nimble ensemble executes Cameron Turner's zippy choreography -- which covers bee-bop, tap, kick lines, Fosse and conga -- with boundless energy."
