Chicago Tribune - Somewhat Recommended
"...So I'm gonna make one more plea about the book: there is insufficient overarching conflict, and insufficient cohesion, to sustain the show. And it's not clear enough where the heck we are. The hero is a guy named Conrad Ticklebottom (Scott Duff, who is broad but funny), a troubled soul whom the mystical Lizas teach by allowing him to go back in time. But it's never clear if this Conrad is a box-making designer (he seems to be) or a network producer (which he also seems to be). Sure, sponsors had - have - a hand in network shows, but not quite like this. You just don't know enough of the where and when or the vistas the show is revealing."
Chicago Reader - Somewhat Recommended
"...The opening passages of Scott Ferguson's About Face Theater production are an incoherent mess of shrill feyness; together with Scott Duff's vague Conrad, they fail to tell us what we need to know. But the Lizas are a hoot (especially Danielle Plisz, a miracle of comic timing as the young Liza Was), and so is Andrew Swan as one of their twinkish minions."
Time Out Chicago - Highly Recommended
"...Schmuckler's score includes some really lovely tunes (you could see the sweet romantic number "Please Handle With Care" becoming a new seasonal standard), and Patrick Andrews's engaging choreography is well executed particularly by Plisz and cheekily hunky backup boys John Francisco and Andrew Swan. For those in search of a little holiday irreverence, We Three Lizas 2.0 could be a new favorite carol."
ShowBizChicago - Highly Recommended
"...Though We Three Liza’s loses some of the intimacy it had over the Steppenwolf Garage space, it is still at its core one the finest holiday stories to come out of modern American musical theater in the past decade. While we are being inundated with screen to stage knock off’s, We Three Liza’s remains a unique, entertaining and moving story where we can all leave the theatre a bit happier and wiser."
Stage and Cinema - Recommended
"...It’s not clear what Conrad’s crisis was or why we should care, let alone how the peppy finale (a raucous “Give It A Christmas Goose”) fits the bill. But then this hodgepodge of Dickens and Frank Capra all but demands an alcoholic accompaniment. Scott Ferguson’s piledriving staging serves the silliness by never slowing down enough to let any implausibility sink in. Several songs, especially Liza Always’ deservedly nostalgic “Mama Taught Me,” can hold their own even out of context. This year, the score seems sharper in its melodic invention and power of pizzazz. The cast, particularly Plisz’s perfect replica of a feisty Minelli in the early 70s and Tretta as the stalwart Reggie, prove more captivating than their characters."
ChicagoCritic - Recommended
"...This is a cute, campy parody rich in inside gay humor that necessitates a liking of Liza Minnellis as well as camp parody. It is a fun alternate to all those sweet holiday shows."
Around The Town Chicago - Recommended
"...It is funny and gay! It is silly and gay! Directed by Scott Ferguson and well choreographed by Patrick Andrews, this is sheer fun and a solid diversion to the world events that we face each day. It is a tale of hope and recognition as well as just a fun night at the theater. Yes, Liza is made fun of and the fact that three portrayals are part of the oicture is unique. One in drag, one larger than life and one, who you might think is “the real thing”. There are some wonderful moments on a unique set (Jerre Dye, you have outdoen yourself with this one), sound (Josh Horvath) and lighting (Mac Vaughey). Eleanor Kahn’s props are divine to say the least and the costumes (Mieka Van der Ploeg and Robert S. Kuhn, are colorful and very hip for the purpose of the show."
Chicago Theatre Review - Highly Recommended
"...Kudos to Scott Bradley and Alan Schmuckler for not only creating this inventive, new holiday musical comedy, but for having the insight to step back and take another look at it. The show’s strengths have been enhanced and most of its weaknesses exorcised. While some of the songs and comic segments still seem a bit long and repetitive, this newly revamped version of the show is funnier, fresher and pretty fantastic. For a gay ol’ look at a Dickens classic, About Face Theatre has given it the Christmas Goose."
