Christopher Cree Grant

Reunited with Chenoweth for the first time since "Wicked," Schwartz once again benefits tremendously from a genuine member of Broadway royalty who, roughly two decades ago, as the original Glinda, turned a bunch of prosaic songs into popular ones (critic takes ostentatious bow). While the score for "The Queen of Versailles" will not survive in our collective memory (please, no!), Chenoweth, as always, gives it her considerable best, particularly when showing off her coloratura soprano to Marie Antoinette (Cassondra James). That would be worth a severely reduced price of admission, if not for the frustrating inconsistencies of Schwartz's lyrics and Lindsey Ferrentino's book, which eventually turn unconscionable. [more]