Two ONE-WAY Tickets To Broadway Productions
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How did you like our recent production? We are interested to hear from you! Let us know what you thought! Your feedback may accompany our granting and sponsorship applications! Your help is greatly appreciated! Don't know how to go about it? Here are a few hints: Who was your favourite character? What did you think of the music, the singing, the costumes, the sets, the lighting...? In your opinion what was the highlight of the performance?
"The music is the most alluring feature of Titanic. It's big. Old-fashioned big. Ditto the lush orchestration. The human canvas is panoramically big, too. The curiosity of the piece is that it's a group portrait of a rigidly class-conscious age, with the Edwardian stratification starting to crack. And it's also a bunch of cameo portraits, though the musical book itself is a little flat in this. The old order is giving way, not to a democracy of mankind or anything like that, but to a new (American) aristocracy based pretty much exclusively on money. TOWTTB, a semi-professional company in which the talents are, naturally, variable, gives us an experience that's rare these days: They populate the stage, massively. There?s a cast of 43, a 40-piece orchestra, a 125-member choir (the Edmonton Metropolitan Chorus). The size itself is thrilling. Kudos to Mah and musical director Rob Curtis."
Liz Nicholls, Edmonton Journal (Blog)
on Titanic, the musical (April 06, 2012)
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"There are remarkable talents here who have kept their day jobs, as TOWTTB's co-artistic director Martin Galba mentioned after the show. He's an example himself. Since the company's debut, with Sondheim's Passion six years ago, his voice has taken on lustrous dimensions, and so has his stage presence, as we saw in his portrait of the stoker Barrett, and a lovely scene in which he proposes to his girl back home via the newly invented Marconi technology (with Stuart McDougall a charmer as the eager beaver radioman) . So has his fellow a.d. Nicole English, who plays an Irish lass dreaming of a new life in America. The scene in which Kate and a cluster of her fellow third-class passengers dreams their dreams in song is a little gem."
Liz Nicholls, Edmonton Journal (Blog)
on Titanic, the musical (April 06, 2012)
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"Barbara Mah's stirring concert production of Titanic: The Musical by an enterprising little Edmonton theatre company called Two One Way Tickets To Broadway Productions..."
Liz Nicholls, Edmonton Journal (Blog)
on Titanic, the musical (April 06, 2012)
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"Saw your show last night. Kudos to your company for an exciting, entertaining, totally professional production. The talent is amazing."
Dee T.
saw Chicago, the musical
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"EDMONTON - All hands on deck: The Tony Award-winning 1997 musical Titanic is the outsized centrepiece to the upcoming season at Two One-Way Tickets To Broadway Productions, an Edmonton musical theatre company. At a news conference Thursday, artistic director Martin Galba announced plans for a large-scale concert production of the Maury Yeston/Peter Stone musical in 2012, the centenary of the tragic collision between ocean-liner and iceberg that sent the RMS Titanic and its 1,500 passengers to their doom.
'I knew we needed a big sound for the anthem-like songs (We?ll Meet Tomorrow, Godspeed Titanic),' said Galba. 'They are choral masterpieces and deserve to be performed so they fill the Winspear Centre hall.' He has assembled the 100-member Edmonton Metropolitan Chorus, and conductor David Garber, along with a 40-piece orchestra for the production, which runs April 4 and 5 next year. Barbara Mah directs a cast that stars Edmonton singer Anna Beaumont."
Liz Nicholls, Edmonton Journal
on Titanic, the musical (April 2011 interview)
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"And I didn't even get a chance to see the Two One-Way Tickets To Broadway production of Chicago, by all reports explosively sung"
Liz Nicholls, Edmonton Journal
on Chicago, the musical (article published Nov 7, 2011)
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"Speaking as we are of the macabre, Chicago, the murderously sharpedged Kander and Ebb musical about the lethal nature of celebrity, takes us to Death Row and gives us the old razzle dazzle.
It opens Friday night at La Cite francophone (8627 91st St.) in a production by Two One-Way Tickets to Broadway, a six-year-old company with an impeccable track record in gathering crowds for its musical offerings. This enterprising semiprofessional company has credits for every kind of musical, from Cabaret to Little Shop of Horrors, Rent to Jekyll & Hyde to Sweeney Todd.
For the current outbreak of homicidal hoofers, TOWTTB has attracted the services of a crack creative team: director Linette Smith and musical director Stephen Delano, who have galvanized the Strathcona High School drama department among other credentials.
Their production stars Erika Noot as Roxie Hart, Kristin Johnston as Velma Kelly, and Martin Galba as Billy Flynn, the slickest, knowingest lawyer in showbiz."
Liz Nicholls, Edmonton Journal
on Chicago, the musical (preview)
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"The show is centred on the character of recent-murderess Roxie Hart, played here by Erika Noot, who carries the show effortlessly. Hart has a great foil in Kristin Johnston's cutthroat portrayal of washed-up vaudevillian Velma Kelly.
Particularly notable numbers include the expertly-executed "Cell Block Tango," the ingenious "We Both Reached for the Gun," and the sassy "Razzle Dazzle." GP Caswell's performance as Mary Sunshine in "A Little Bit of Good" is also hilariously memorable. This is a high-energy, very well executed performance of a classic Broadway show."
Mel Priestley, Vue Weekly
saw Chicago, the musical
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"Th stand-out here is Erika Noot's Roxy Hart. Roxy shoots her lover when he tries to leave her - and after a sensational trial, becomes a major vaudeville star. (For about two weeks, I suspect). Noot is cynical but vulnerable, dumb but with street smarts, greedy, sexy, spunky, with a good voice and a great comic delivery. Kristin Johnson is Velma, who blew a hole in her sister when she found her in bed with her husband (him too). After a shaky start, the actress developed into a tough-talking, high-stepping powerhouse with a klaxon voice. The two completely inhabit their roles.
Billy Flynn, the silver-tongued shyster who gets them off, is Martin Galba who is the producer of the show and seems to have a hand in everything but the janitorial department. Galba has stainless steel, Gene Kelly good looks, a big Broadway voice and projects an outsized Hollywood-style personality. You could say his "All I Really Need is Love" is a showstopper but it is just one of many."
Colin MacLean, Edmonton Sun
saw Chicago, the musical (4 Stars)
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"Werner exhibits a burnished Broadway style voice and projection to match and larger-than-life Hlus as the barbarous dentist (He also has the best death scene since Doc Oc was swallowed by the doomsday reactor in Spider-man 3)...Audrey II, the mean green mother from outer space may be wire and papier mâché but becomes to remarkable life with Knecht's voice and Josh Languedoc's remarkable manipulation."
Colin MacLean, Edmonton Sun
saw Little Shop of Horrors
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