Darius de Haas in Jesus Christ Superstar Gospel

"William Shakespeare would have rolled over in his grave if he had heard last night’s performance of Best Of Both Worlds at the A.R.T.- but only to get his ear closer to the magnificent sound! In the true spirit of the long dead king of writers, Randy Weiner, Diedre Murray and Diane Paulus have re-imagined The Winter’s Tale for a modern era- touching the audience like never before. Mellow jazz, smooth R & B, passionate gospel and playful hip-hop combine and intertwine to imbue a centuries old story with new spirit.

Gone is the familiar, painful to follow text and predictable action.The cast fills the stage with color and sound and vitality to rival the flashiest of Broadway shows. Just as King Chamberlin’s Men would have, the company of players of Best of Both Worlds, arrive on a bare set- in a purple Cadillac no less- and instantly transform it into their playing space. Cleavant Derricks, as our narrator, sets the scene for the audience, and his tongue is planted firmly in his cheek as he introduces two R&B “Kings”, Ezekiel (Gregg Baker) and Maurice (Darius de Haas) whose pride and stubbornness lead to extremely dramatic circumstances for Ezekiel’s beloved wife Serena (Jeannette Bayardelle), his children Mamillius (Sebastien Lucien) and Rain (Brianna Horne), and the entire kingdom of lives they touch along the way. It is Shakespeare undone and redone again. The axiom and essence of The Winters Tale live on in this neoteric, musical treatment.

Baker as Ezekiel is mesmerizing. It is almost impossible to take your eyes off of him when he’s singing. With a voice that floats to the very top row of seats, his emotions are palpable- from rage to anguish. Darius De Hass is the perfect counterpoint as Maurice, his voice so warm and supple that there was not one person breathing in the entire auditorium when he hit his high notes. Bayardelle garnered the loudest applause of the night after her heart-rending plea for mercy at the end of act one. She was as beautiful and ethereal as any queen I could conjure. A strong ensemble of players round out the rest of the extraordinary cast. Horne and Lawrence Stallings (as Tariq) deliver a sensational ballad.

Looking around the packed house, their was an even more pronounced rainbow of faces in the crowd- and that is an exciting feeling for someone who sees an average of three shows a week, often with the same, stuffy, blue-haired set. I felt privileged to get to share this event with a crowd that isn’t necessarily your typical A.R.T. patron. The feeling in the air was arresting- a current of excitement that revived and rejuvenated the entire audience. The night flew by- and there was no need for the company to illicit a standing ovation at the curtain, the audience was already standing, clapping, shouting, and in some cases, singing along. It just felt good. The A.R.T. has made its name by offering us unconventional theatrical productions, and Best of Both Worlds is more than just a feather in the A.R.T cap, it’s a crowning jewel. Bravo, Bravo!

- BostonTheatreReview.com

"A purple Cadillac convertible rolls onto a cavernous, blackened stage in the opening scene of “Best of Both Worlds,” an R&B and gospel retelling of Shakespeare’s “The Winter’s Tale.” The Cadillac’s cargo—a troupe of actors—tumbles out and takes possession of the audience all the way through to the show’s rousing finale. The American Repertory Theater (ART) production is, as Cleavant Derricks, the narrator, tells the audience, a mix of “some Shakespeare with some soul—the best of both worlds.” With a cast of heavy hitters, flawless musicians, and alluring stagecraft, the production is never less than fun.

Unfolding in two acts, the story is faithful to the heart of Shakespeare’s play. When their roles give the actors expressive latitude, they seize it. Darius de Haas, singing a charged duet with Lawrence Stallings, masterfully expresses his anger by drawing out some words in extended, flat notes that evoke a saxophone solo.

Director Diane Paulus, in her first season as ART artistic director, is no stranger to fusing high brow and low, from acclaimed classical opera productions to her Tony Award-winning Broadway revival of “Hair.” The book and lyrics are by Randy Weiner, her spouse and frequent collaborator. Multiple Obie winner and pioneering jazz cellist Diedre L. Murray composed the music, which is directed by Michael Mitchell."

- The Bay State Banner