"The Queen of Versailles swerves and overcorrects like a drunk driver. Tonally, it’s all over the map...It is the confused, contorted product of a set of absolutely incompatible impulses"
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"Rather than eat the rich, the musical settles for nipping them on the nose with all the ferocity of Jackie’s cuddly white Pomeranian."
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A big, splashy effort, slickly professional in nearly every aspect, that has no idea what to make of its heroine. It's a star vehicle with a giant question mark at its center, and its nonjudgmental gaze ultimately leaves one feeling surprisingly neutral.
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It's neither a credible hero's journey nor a compelling antihero's one; it's simply soulless.
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“In a year when Broadway has given us genuinely ambitious work grappling with what it means to be American, "The Queen of Versailles" offers only spectacle without insight, a palace with no one home. What were they thinking?”
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The frivolous first act and the stirring second act deliciously dance together.
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Chenoweth is, of course, the draw, and she tries her hardest to make the material work.
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Critic’s Pick: "more than an entertaining biomusical with a hummable score. Directed by Michael Arden, it’s also a sociological fairy tale"
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