2018-2019 Season

Cabaret Reviews

    “Once again, Texas State dazzles with this remarkable production. Kudos to director Tom Delbello, who has meticulously rethought this classic and breathed fresh life into it.”

   “The icing on the cake of this amazing production lies, as is usual with the students of Kaitlin Hopkins, in the performances of these young artists….perhaps the finest, most rethought production of this classic I have ever had the privilege to watch.” Frank Benge / Broadwayworld.com

"The classic musical Cabaret is a dark story, so what does a top-notch production of the show look like today? Positively brutal, in a vital and necessary way The new production from the Texas State  distinguishes itself by fully embracing the darker nuances of the text in a way that other versions shy away from."

"This hyper-sexuality is intimately tied to the choreography co-created by students Jacob Burns and Beau Harmon, a kinetic explosion that grows increasingly manic throughout the production. The Kit Kat Club performers are like robots on the verge of exploding, or puppets jerked to and fro on their strings; it is simultaneously engaging and disturbing, underlying the increasing threat of the oncoming storm." Andrew J. Friedenthal / austin360.com

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Reviews for What We Scream Underwater When No One Can Hear Us

"Director Allison Price did a stunning job leading her two actors into truly genuine performances....Having to watch the two struggle through presenting their truth while the other just has to stand there and watch was painful in the best way....it was cathartic and full of joy as each woman decided that they would be true to who they really are."  Addison McKissack / Broadwayworld.com

The Importance of Being Earnest Reviews

"Director Jerry Ruiz was able to take a show that has been around since 1895 and breathe new life into it. Ruiz was able to immerse the audience into the world of the Victorian elite while heightening the comedic elements of the piece. What's funny is that Ruiz highlighted the comedy in the silent moments of this fantastic script-focusing on the small bits of physical comedy, which never failed to elicit a laugh."

"The set design by Gary Thornsberry was beautifully done and well thought out for theatre in the round. The elegant love seats were all upholstered in different colors of velvet, and the garden set extended to the area behind the audience with large painted flowers that would put Anthropologie to shame. Monica Pasut's costume design added to the grandeur of each of the characters. Pasut was able to mix elements of the upper-class Victorian style elements with modern pieces. Not to mention the hats for Gwendolyn and her mother were reminiscent of the best hats at the Royal Wedding(s)." Addison McKissack, BroadwayWorld.com

The Hunchback of Notre Dame Reviews

• "...Hopkins’ musical theater program can fill a stage with finely burnished talents."

"..San Marcos has become a mecca for musicals."

"...Charismatic, full-voiced Daniel Z. Miller (Quasimodo) and Ana Yi Puig (Esmeralda) could easily be dropped into any Broadway cast." Michael Barnes / Austin360.com

• "...You're unlikely to see a musical production of this scope and flourish on Broadway these days." Michael Meigs / ctxlive.com

• "Kaitlin Hopkins takes the medieval setting and recreates it in a high concept artwork in black, white, tones of gray and slashes of crimson. The effect is a feast for the senses."

"Choreography by Cassie Abate fills the stage with the vibrance of gypsy movement and the excitement of a Broadway-caliber musical."

"Daniel Miller as Quasimodo captures our hearts and fills our scenes with is clear tenor. This young man will be a star with his name in lights one day very soon."

"Kaitlin Hopkins’s direction elevates this material to [a] classic stratosphere." Lynn Beaver / broadwayworld.com