Los Angeles Times
- Somewhat Recommended
"...The score by Michele Brourman (music) and Amanda McBroom (lyrics) recycles generic pop, the choreography by Benoit-Swan Pouffer looks like an "American Idol" rehearsal of feverishly outstretched arms and the book by Jeannine Dominy spoils a fascinating story with a wobbly command of language and more ideas that can be dramatically sorted out. Still, if you can overlook all this and Sheryl Kaller's inconsistent direction, the show isn't half bad."
LA Weekly
- Highly Recommended
"...Things go from fancifully romantic to blandly tragic when Veronica is accused of witchcraft by the Inquisition. The hooker-with-the-heart-of-gold tale doesn't get elevated to any new heights here, but Powers sings the tunes of virtuous maiden and fallen angel with heaven-sent pipes. Snyder holds his own, too, though his character is too one-dimensional to account for the sexually adept and wickedly smart Veronica's long-lasting attraction to him. Ryness brings a rock & roll edge to his portrayal of the villain, but his lack of control prevents a seamless connection with the rest of the ensemble; his performance has the awkward feel of a hair-band guy trying to jam with indie-folk types."
Backstage
- Somewhat Recommended
"...Dominy's plot-heavy book would benefit from tighter focusing. The story's political context is important, but details of governmental machinations occasionally distract from the play's juicy melodramatic pleasures. Nonetheless, this uncommonly literate musical has the makings of gripping entertainment. Retooling would be well worth the effort."
Talkin Broadway
- Somewhat Recommended
"...Veronica's story is interesting, and she can be made more compelling. (Aside to Dominy-that bit in the playwright's note which you say you wish had found its way into the play' That would make a much better ending-and give Veronica more of a purpose-than what is there now.) A few of the songs, particularly a gorgeous trio for three of the women in the second act and a strong fight song for the men which follows it, memorably stand out. There is definitely some quality in here. The creators of this piece need to regroup, determine a unified vision for the tale they're going to tell, and try again."
Edge
- Somewhat Recommended
"...At the very least, said collar should administer a brief paralyzing shock whenever lyricists forget they are there to serve the art of music and not vice versa. All too often, Brourman is forced to write from down in the machine room, where McBroom's frequently unfocused stanzas evoke the dull drone of recitative, that operatic device whereby composers dispose of plot as quickly as possible in order to get to the next hit tune. We get plenty of ariosa in Dangerous Beauty, but damned little aria. "
Stage Scene LA
- Highly Recommended
"...Under Kaller's assured direction, Powers (Broadway's Greese and Little Women) makes about as spectacular an L.A. stage debut as can be recalled. As the spunky, resilient, almost swashbuckling, yet ever feminine Veronica, Powers not only looks dangerously beautiful but sings "In His Eyes," "Until Tomorrow Comes," and the emotional anthem "Confession" in a glorious soprano which ranges from legit to Broadway belt."
ReviewPlays.com
- Highly Recommended
"...This lavish production has much going for it, mostly in the way of the talented performers whose singing voices are wonderful, the flawless set (Tom Buderwitz), sumptuous costumes (Soyon An) and effective lighting (Russell H. Champa). The biggest drawback to the production is its length; it's a story old that could be told in less than two-and-one-half hours. Perhaps the length was in order to accommodate all of the music; there are sixteen songs throughout the production."
Examiner
- Recommended
"...Dangerous Beauty is a major undertaking for the newly arisen Pasadena Playhouse. It provides the rare opportunity to see a splendid new work and deserves to attract large audiences."
Will Call
- Recommended
"...Lavish is the word that best describes the current production as the Playhouse. An effective set of Old Venice, designed by Tom Buderwitz, marvelous costumes by Soyon An and a terrific performance by Jenny Powers, are the high points. Powers is a major multi-talent, she sings, dances, acts and even fences. She plays Veronica Franco, a Venetian courtesan, published poet and singer who actually lived in the Fifteenth Century and championed the cause of women, earning the respect of her contemporaries of all ranks. Courtesans, to put it politely, are beautiful women who, realizing that they are sitting on a fortune, sell their favors to the highest bidder. They also seem to lead lives that are a lot more fun than the respectable, repressed wives of that period."
