John Boswell and Cast Photo by Mikki Schaffner

Corner of the Sky was conceived and created by Scott Coulter, a graduate of the University of Cincinnati College-Conservatory of Music (CCM) who has had a decades-long association with Stephen Schwartz. The revue starts with a lone pianist (The Songwriter) struggling with writer's block. Taking inspiration from the lyric fragments in the song "Corner of the Sky" from Pippin, themes related to "soul," "goal," "free," "corner," "time," "sky" and other parts of the song cleverly spark numbers from the tunesmith's catalogue. Those titles come alive and are performed by an additional cast of seven. The structure works better than one might have imagined and never seems forced, even with no spoken dialogue added. The framework also provides a peek into the creative process of songwriting, which adds a fresh narrative to the songs.

Schwartz's accomplished career has produced many splendid songs. While musical theatre aficionados might quibble about one of their favorites being left out of show, they're also bound to be overjoyed at the abundance of titles included. Songs from Schwartz's monster stage hits like Pippin, Godspell, and Wicked are present, along with numbers written for animated films such as The Prince of Egypt, The Hunchback of Notre Dame, and Pocahontas. Lesser-known gems from Children of Eden, Rags, Working, The Magic Show, and The Baker's Wife are likewise featured, along with truly rare selections from projects such as Reluctant Pilgrim, Houdini, and The Queen of Versailles. Schwartz's lyrics are witty, unexpected, and evoke emotions which are deeply person, yet universal. His music is always apt to the character and story, whether filled with pulsating energy or a tender ballad. A few songs feature only lyrics by Schwartz, paired with music from other theatre legends.

CCM Chair of Musical Theatre Vincent DeGeorge is the director and choreographer of this production. DeGeorge is one of Cincinnati's top artists, and his work here is impressive and well suited to the material. He extracts excellent performances and interpretations of the songs from the cast, turning many songs into mini-musicals themselves. The passionate storytelling, authentic acting, and a deeper meaning of the songs come through brilliantly. DeGeorge's staging, transitions, use of space, movement, and execution of the show's concept are exactly what they need to be, without adding anything which would distract from the material itself. John Boswell, who also is the pianist in the show, serves as the musical director for the production. He superbly plays all the songs from memory without sheet music and has expertly prepared the cast vocally.

In addition to Boswell, who supplies an emotional close to the show with "For Good," the cast is a mix of local talent, CCM students, and New York City based performers. Klea Blackhurst puts her big voice and many years of professional experience to good work with numbers such as "It's an Art" and "No Time at All," which garners tons of laughs. Kenneth Early is a bit underutilized, but shows off his lovely baritone voice in several songs including a touching "Fathers and Sons." Chris Blem skillfully performs some of the show's more obscure numbers, as well as with the beloved "Out There." Gavin Poronsky brings earnest enthusiasm to "Popular" and poignancy in "Beautiful City." Sydney Short provides powerful vocals in showcasing "O Bless The Lord" and "Caviar Dreams."

The most impressive performances come from current CCM students Chanduni Herath and Jordyn Amani Jones. Both performers are accomplished interpreters of songs and show off colorful vocal ability in many of the show's best and most moving numbers. Herath's lovely presentations of "Lion Tamer" and "Colors of the Wind" are truly memorable, and Jones' fierce "Extraordinary" and "Spark of Creation" nearly bring the house down. The cast performs several stirring duets and choral numbers, including a powerful "West End Avenue" and "Defying Gravity." The vocal arrangements by John Boswell and Scott Coulter are beautiful and well executed by the ensemble.

Brian c. Mehring's attractive scenic design provides a setting of a rooftop apartment with lots of nooks and crannies and an authentic New York City feel. The use of Becca Schall's projections of lyrics from "Corner of the Sky" (the song) remind the audience of the themes covered by the numbers without feeling intrusive. Mehring's mood-enhancing lighting includes smaller lights that mimic rain, stars, and other effects amusingly. The costumes by Cat Schmeal-Swope include shades of blue clueing off of the sky motif. The voices and accompaniment come across clearly with sound design by Jake Tillman and Danielle Lobello.

It's easy to imagine Corner of the Sky: The Songs of Stephen Schwartz becoming a frequently licensed and performed property. Featuring many beloved songs from a popular songwriter, it's an impressive showcase. The world premiere of the revue at ETC is a commendable one, thanks to great direction and a talented cast. Ain't it good that these artists can serenade local audiences with the simple joys found in this show.

Corner of the Sky runs through September 27, 2026, at Ensemble Theatre Cincinnati, 1127 Vine Street, Cincinnati OH. For tickets and information, please visit www.ensemblecincinnati.org or call 513-421-3555.