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The show is designated a rock musical,but the term misleads,as Tom Kitt's score contains many heartfelt <br /> ballads and stirring Broadway-style anthems. Brian Yorkey's lyrics are clever without being cute,repeatedly <br /> gripping in their poignant truths. Thankfully,the lyrics are easily understood here,as the backstage band, <br /> under Julie Florin's sensitive direction,is heard through speakers and never allowed to overpower the singers. <br /> Occasional imbalances and dropouts from the singers' mics are the only distractions. <br /> Deep Dish's small stage is shrewdly disguised by Rob Hamilton's design of gauzy,interlocking walls that <br /> swivel to create different scenes,revealing characters when lit from behind.Director Paul Frellick keeps the <br /> staging simple but nicely varied,the intimate space permitting every subtle facial expression and quietly <br /> spoken phrase to register. <br /> Lisa Jolley gives Diana full range,her desperation to understand her predicament moving,her.realizations of it <br /> heartbreaking. As husband Dan,John Allore is extremely affecting,making Dan's feelings of helplessness and <br /> loss palpable. Abigail Coryell's Natalie is smartly judged,its hardened surface hiding a frightened,damaged <br /> soul. <br /> Wesley Miller's confident vocals and tender sincerity make Gabe's special connection to his mother sweetly <br /> touching,while Mark Ridenour gives both doctors depths beyond their stereotypical characters. As Natalie's <br /> love-struck bovfriend Henry,Jeffrey Vizeaino sings impressively but plays the character blandly. <br /> Dicks:music_rhearerfatvcos.com <br />