Chicago Tribune
- Somewhat Recommended
"...Staged on Ian Zywica's serviceable unit set, Porchlight's production is a mixed bag. Lanza is a stellar lead, and the ensemble work here is also exceptionally strong. But the production, which is directed and (loosely) choreographed by James Beaudry, has a blind spot when it comes to romance. As the guy who is turned into John Doe, Karl Hamilton earnestly plays up the character's lack of comfort with his assumed role. Fine. But that only takes him so far. Although Hamilton sings beautifully, he never really connects with Lanza, and you never become invested in their potential romance. Similarly, that nefarious proprietor (played by Mick Weber) is also a love interest for Ann, before she comes to her senses and realizes that a newspaper owner's diamonds are not always a girl's best friend. You don't see that here, either. Not as you should."
Chicago Sun Times
- Highly Recommended
"...“Meet John Doe” is a winning new musical with an old-fashioned heart, a stirring soul, rock-solid structure, and a rich collection of political and romantic themes ideally matched to our own tough times."
Chicago Reader
- Somewhat Recommended
"...Nearly everyone in director James Beaudry's 15-person cast has the vocal and acting chops to put the show across—and they need them, because Beaudry's lackluster, inattentive direction does them few favors. His blocking is often perfunctory, engaging actors in meaningless business. To depict a busy newsroom, for example, he has them walk semi-mechanically along straight lines and mutter bits of lyric under their breath, which evokes neither a newsroom nor busyness. For two and a half hours, in scenes ranging from a hotel suite to a small-town diner to the Brooklyn Bridge, Beaudry and his designers rarely create a convincing sense of place. And you have to squint hard to see 1931 in the men's suits."
Windy City Times
- Recommended
"...You won't find a more prescient musical in Chicago than Porchlight Music Theatre's Meet John Doe. Now in a strong Midwest premiere production at Stage 773, Meet John Doe startles with the number of modern-day parallels between its fictional Depression-era plotlines and our post-Recession-era headlines."
Copley News Service
- Recommended
"...Porchlight has assembled a large cast of 15, led by Elizabeth Lanza’s strong voice and equally strong acting chops as Ann Mitchell. Karl Hamilton gets a slow start as Willoughby/Doe but rises to the show’s dramatic conclusion with considerable passion. The crowd pleasing performance of the night comes from Rus Rainear as Willoughby’s grizzled and wisecracking sidekick, called the Colonel, an irresistible hobo who radiates contempt for money as the root of all evil. Mick Weber is very effective as the villainous Norton, a physically imposing man with a surprising soft spot for Ann Mitchell apart from his nastier political machinations."
Centerstage
- Highly Recommended
"...This Midwestern premiere, based upon Frank Capra’s 1941 film is a strong, intelligent production showcasing some fine local talent. It's almost as if composer Andrew Gerle and lyricist/bookwriter Eddie Sugarman had been specifically commissioned to create a musical that speaks to the recent political events in America."
Time Out Chicago
- Recommended
"...
though this staging isn’t ideal, it does prove that the promising John Doe deserves to emerge from anonymity. The talented authors have Capraesque down. Their score suggests old-fashioned without feeling old, and to their credit they don’t shy away from Capra’s original dark ending, even though the filmmaker did. What the show lacks is romance; the inevitable spark between John and Ann feels perfunctory—or maybe that’s the lack of chemistry between the otherwise well-cast Lanza and Hamilton."
ChicagoCritic
- Somewhat Recommended
"...I have mixed feelings about this production. Generally, the sound mix made for many of the singers being overwhelmed by the orchestra. I also though that the ensemble has too many weak voices. In an attempt to be an operetta, many of the 24 songs seemed forced and they had a ‘talk-song’ sound similar to the William Finn style. The use of many baseball references diluted the effects of several tunes. Generally, the show is a chamber piece that tries to be a grand musical with large-scale ‘showstoppers.’ Other than Elizabeth Lanza, as Ann, and Karl Hamilton, as Doe, the singing was weak. The two leads nailed their tune with rich emotions but the miscast Mick Weber, as the villain Norton, was stiff and proved that he isn’t a singer. Jim Sherman sang a heart-felt number – “Lighthouses.” But the lack of memorable songs and the sameness of the score wore thin over two plus hours. The message of Meet John Doe is a worthy one that still resonates today but I’m not sure that the show benefits from being a musical."
Chicago Stage and Screen
- Highly Recommended
"...“Meet John Doe” is a delightful new musical that audiences will enjoy. Porchlight’s newest installment is just another example of their ambition to create excellent musical theatre. Andrew Gerle and Eddie Sugarman are responsible for “John Doe’s” impressive musical score; Gerle even went on to create a new series of orchestrations specifically for Porchlight’s production. Also given credit for co-writing the book for this stage adaption, the team of Sugarman and Gerle have their hands on a brilliant piece of musical theatre. One to be loved by audiences everywhere."
Around The Town Chicago
- Recommended
"...“Meet John Doe” has some very nice songs, although nothing you will leave the theater humming, but songs like “The New American Times”,, “Money Talks”, “I Feel Like A Man Again” and “I’M Your Man” all add to the telling of the story and since this is a story with music, I for one, prefer that the music be a part of the story and not just a song that you can take out of context and do a single of. I do want to mention that the ensemble for thi show, although small in numbers is huge in talent and as you know, I am of the feeling that the ensemble can make or break the overall productions, so, thanks to: Eli Branson,Sean Effinger-Dean,Harmony France, Elizabeth Gray, Kelly Hackett, Elizabeth Haley,Matthew Keffer, Travis Porchia,Michael Reyes and Pavi Proczko- nice job!"
Chicago Theater Beat
- Somewhat Recommended
"...John Doe’s final self-sacrificing act might make psychological sense for the character, but not for the unity of the crowd after he does it. Act Two contains choice moments, like Connell’s gorgeous reminiscence of his WWI army service with “Lighthouses” or the verbal hits John Doe delivers against Norton’s cadre of privileged, slime-ball cronies. But on the whole, it’s rewrite time once again for this plotline. Time once again for John Doe to re-create himself—let’s hope for his sake, and ours–that that he gets it right."
