David Ezra’s performance keeps the show from going completely off course. He is well-cast as our serious, straight-shooting hero. His magnetism, impressive singing, and sheer stamina was the sobering presence that anchors the audience back to why this musical exists in the first place: Aurelio.

Joey Mendoza’s office break room set was appropriately grubby. It’s not sterile or glossy, but lived-in almost, complete with flickering lights (lighting designer John Batalla)—the sort of place you would find a man like Ray.

The show makes use of Jerome Robbins’s original choreography, and primarily excelled at what it was being billed as: a dance musical.

“Joel Trinidad and Nicky Trivino co-direct this production with a clear understanding of the specificity, and has assembled a strong cast who are their own kind of triple threat: they act, they sing, and they’re hilarious.”

“Globe Live and 9 Works Theatrical has put together a crowd-pleaser that has undoubtedly set a precedent for locally-produced dance musicals.”

“You will come away from the theater with the parting thought that you may have just seen the best show the year has to offer, and you know what? You will be right.”

“Mason-Wygal—albeit too young for the role—gives a good go as Mother Superior, delivering genuinely affecting and grounded performances for her big ballads.”

“The Pandora you witness is science, technology, nature, and art, in utter harmony. The multimedia element of the show is so well-crafted, that it almost doesn’t betray that its projections aren’t real at all.”