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The 9/11 Report

at The Music Theatre Company

"Ms. Redish, I believe, is a visionary,"

- Billy Corgan

Silence! The Musical - Studio Theatre, Washington DC
2016 Helen Hayes Award Winner for Outstanding Choreography

"What is consistent is that the director Alan Paul has assembled a talented cast with superb voices, supported by the smart choreography of Jessica Beth Redish, with some parody of Bob Fosse moves. The dancers...cavort about in floppy ears and lamb makeup in carefully designed dance routines." - Chuck Conconi, Washington Life Magazine

"Jessica Beth Redish definitely helps to integrate the actors, chorus and dialogue successfully with her masterful choreographic patterns and movements. At times the Chorus, will delight with pelvic thrusts and arms extended in an almost 'Fosse-esque' manner." - David Friscic, DC Metro TheaterArts

 "...sharply staged...The musical in-jokes include Bob Fosse-style dancers popping up behind FBI agent Clarice Starling when she gets a break and begins to feel like a star."
- Nelson Pressley, Washington Post

"......savvy staging...Jessica Beth Redish’s choreography pays corny homage’s to some of Broadway’s greats, most notably with a Bob Fosse-inspired number" - Patrick Folliard, WashingtonBlade.com

"It is a masterpiece of coordination and choreography (Jessica Beth Redish)." - Julie McHale, TimeOut Theater Critic, GMtoday.com

"Jessica Beth Redish, as choreographer, milk every opportunity for parody in the already prone-to-such score, including specific homages to Chicago, The King and I...Singin’ in the Rain, and numerous other tropes of the form more generally. That all this is accomplished with not only huge laughs, but also sincere skill (the singing and dancing are stunning) is no small feat...bejeweled lamb hooves join the world’s most most inappropriate homage to the Singin’ in the Rain dream ballet (yes, there is a dream ballet)" - John Dellaporta, DCTheatreScene.com

"...this is SO incredibly staged..." -brightestyoungthings.com

Pretty Persephone by Billy Corgan - The Music Theatre Company

“Inspired by the Eleusinian mysteries, it’s just the dark, twisted atmospheric fantasy you’d hope for, with stunning choreography by Jessica Beth Redish." - Marissa Oberlander, Chicago Reader

Ella Enchanted - First Stage Theatre, Milwaukee, WI

"Much like Jessica Beth Redish's choreography — initially as constricted and regimented as Ella before exuberantly opening outward — we see [Ella] burst into bloom...An enchanting, empowering production."- Mike Fischer, Milwaukee Journal-Sentinel

Season on The Line - The House Theatre of Chicago 

“With assistance from choreographer Jessica Beth Redish, scene changes and occasional dance breaks are swift and economically performed.” - Colin Douglas, ChicagoTheatreReview.com

“Choreography…by Jessica Redish provide[s] punch and bounce without looking out of place or overly polished.” – Lauren Whalen, chicagotheatrebeat.com

“Choreographer Jessica Beth Redish…also contribute[s] appropriate stagey movement, while not crossing the line into cheesy.” – Kerstin Broockmann, ChicagoStageStandard.com

“…the choreography (also very well orchestrated) was brought in by Jessica Beth Redish…” – John Stuckert, ChicagoCritic.com

Sweet Charity - Writers Theatre, Glencoe, IL

"And for the first time at Writers’, dance trumps words as the most expressive of all languages. Redish pays full homage to Fosse (her take on 'Rich Man’s Frug' is alone worth the price of admission). But she also adds a lyricism and individuality to the choreography that fully captures Charity’s vulnerability and humanity."  - Hedy Weiss, Chicago Sun-Times

"Jessica Redish’s choreography puts character first. The dance expresses humor, longing, ambivalence, libido, and, like Fosse at his best, melds seamlessly into the drama. The 'Rich Man’s Frug,' usually a large ensemble dance, has been reduced to three dancers for its majority. But Redish’s musical staging is so satisfying, it’s as though you’ve eaten just the right amount of delicious food."  - Johnny Oleksinski, New City Stage

"Writers' incarnation remains very much a dance show thanks to the talented Redish, whose head-bobbing, hip-shaking, shoulder-rolling moves offer a tip of the top hat to Bob Fosse, the tuner's original conceiver/director/choreographer. Yet her choreography is fun, fresh and original. Her 'Frug' is delicious and her choreography for the tap-centric 'I'm a Brass Band' has an old-school appeal." - Barbara Vitello, Daily Herald

"...exuberantly sexy choreography" - Zac Thompson, Chicago Reader

"Choreographer Jessica Redish doesn’t try to replicate Bob Fosse’s inimitable style, but she nicely adjusts her dances to the small performing space and small ensemble, turning the intimacy of the theater into a virtue. Her delightful version of 'Rich Man’s Frug' was the dancing highlight of the night." -Dan Zeff, Chicagoland Theater Reviews

"Act II’s 'The Rhythm of Life,'... cooks with vitality as led by James Earl Jones II and choreographed by Jessica Redish." - Kris Vire, TimeOut Chicago

"...a staging propelled by Jessica Redish’s giddily marvelous, Fosse-inspired choreography and a palette of bright colors." - Catey Sullivan, Pioneer Press

"The choreography by Jessica Redish is spectacular in that she takes a space that might be as big as your living room and has almost a dozen people dancing as if they had Radio City Music Hall as their stage." - Al Bresloff, AroundtheTownChicago.com

"...choreographed beautifully by Jessica Redish (a job that would make Fosse proud)..." - Carole Kuhrt Brewer, ChicagoNow.com

RENT - American Theater Company/About Face Theatre, Chicago IL

"Jessica Redish’s movement-based choreography is naturalistically lovely" - Lauren Whalen, Chicago Theater Beat

"And Jessica Redish’s choreography, as always (Pippin at [The] Music Theatre Company, to take only the most recent example), tells as much of the story as any words spoken or sung." -Kelly Kleiman, WBEZ Radio

PIPPIN - The Music Theatre Company
2012 Joseph Jefferson Award Nominee for Outstanding Choreography
Directed & Choreographed by Jessica Beth Redish

"[Jessica] Redish’s choreography is astounding – the sure highlight of the production. Fosse celebrated the spectacle of the human body, and Redish’s interpretation would make him proud. When Pippin’s ensemble dances, the audience murmurs appreciation between moments of utter awe." - Lauren Whalen, Chicago Theater Beat

"Redish's new production of 'Pippin,' the much-loved but mighty-tricky musical with music and lyrics by Stephen Schwartz and a book by Roger O. Hirson, comes with eight Equity actors and a five-piece orchestra. The singing is top-drawer. The energy is infectious. The gestalt is youthful and vibrant. And, to her great credit, Redish does not let herself get hemmed in by cramped quarters — she delivers quite a formidable level of spectacle." - Chris Jones, Chicago Tribune

"The most memorable moments come in the ensemble numbers showcasing Jessica Redish's clever staging and flawless, Fosse-style choreography." - Marissa Oberlander, Chicago Reader

"Director/Choreographer Jessica Redish has crafted a uniquely thrilling, Fosse-esque production." - Colin Douglas, Centerstage Chicago

"Director/choreographer Jessica Redish has cast from the 'A' list of  young Chicago talents.  The result is a slickly polished production of Pippin. Redish’s production is the finest I’ve seen yet of Schwartz’s 70′s musical. Get to Highland Park to rediscover Pippin." - Tom Williams, Chicago Critic

"What Jessica Redish has placed on her stage in Highland Park is the very heart and soul of what the creators intended us to view...Redish uses the very small stage at The Karger Center in downtown Highland Park to full advantage as she directs her sterling cast into all the nooks and crannies of a young man in search of true happiness and fulfillment. The original production was staged by Bob Fosse and Redish has kept his mood and movements alive.Tight quarters are in many cases a difficult chore for the director/choreographer (Redish handles it all with great style)." - Al Bresloff, AroundTheTownChicago.com

"...and the choreography by director Jessica Redish pays such excellent and careful homage to Fosse that audience members feel like they’re present at the creation of a musical theater icon," - Kelly Kleiman, WBEZ Radio

Pinkalicious - First Stage, Milwaukee

"...the choreography by Jessica Redish is full of humor and delight," - Dave Begel, OnMilwaukee.com

"Adding to the fun, choreographer Jessica Redish, whose feel for geometric design was apparent in First Stage's 2011 'Seussical,' gives us a Busby Berkeley routine in a song featuring - what else? - a buzzing insect. Redish also showcases a tap-dancing Karen Estrada, playing a doctor who nevertheless finds time to vamp her way through a big Broadway number - true to the exuberant spirit of [the] show." - Mike Fischer, Milwaukee Journal Sentinel

"Jessica Redish's choreography keeps the show on its toes." - Peggy Sue Dunigan, Postscript Performing Arts

The Pajama Game - The Music Theatre Company

"Jessica Redish's choreography is invariably outside the usual wheelhouse: Her movement here comes with the jerks of industrialized movement and...it serves the material well," - Chris Jones, Chicago Tribune

"...spirited choreography by Jessica Redish...The supporting work from the outstanding dance ensemble smoothly kept the manic pace moving with precision in cleverly crafted numbers such as the picnic tune, 'Once A Year Day' in act one and the sexy, provocative 'Hernando’s Hideaway' tango in act two. Pure delight," - Tom Williams, Chicago Critic

"Among many bravura breakouts, Jessica Redish’s choreography kicks up a sweet storm in a small space in the raucous 'Once-A-Year Day' picnic romp and 'Seven and a Half-Cents,' an anthem to a raise. It’s amazing how on the basically bare stage of this former Highland Park field house, this less-is-more Equity ensemble can instantly recreate a factory floor full of busy sewing machines, all the clandestine whoopee of 'Hernando’s Hideaway,' or Cedar Rapids’ Eagle Hall where the union throws a fundraiser in anticipation of a strike." - Lawrence Bommer, Stage and Cinema

"Redish has deftly choreographed the company picnic “Once-a-Year Day.” Despite the small stage, the factory workers hold a sack race, a tug of war, a square dance, and pass an apple from one neck to another!" - Dorothy Andries, Pioneer Press

"...another showcase of Jessica Redish's flawless Fosse choreography (especially during the deliciously divey 'Hernando's Hideaway')," - Marissa Oberlander, Chicago Reader

"Jessica Redish’s choreography...[is] effective in such numbers as the joyous 'Once-a-Year Day' company picnic and her stylized assembly line precision during 'Racing with the Clock.'" - Colin Douglas, Chicago Theatre Review

Merrily We Roll Along - The Music Theatre Company
2011 Joseph Jefferson Award Nominee for Outstanding Musical - Midsize

"Director-choreographer Jessica Redish does two amazing things with Stephen Sondheim and George Furth's famously flawed 1981 musical...She finds (a) the heart in Furth's heartless book and (b) the drama in a too-clever-by-half show that dampens its own dramatic power by telling its story backwards. Redish's secret: a strong, intelligent, pitch-perfect ensemble led by Jarrod Zimmerman, Alan Schmuckler, and Jessie Mueller. Furth's bitter, dryly witty book and Sondheim's soaring score usually undercut each other. Here, the two elements meld together into a satisfying whole," - Jack Helbig, Chicago Reader

"Youthful creativity invigorates Sondheim production...this particular production typifies how musicals, even musicals that did not do well in their original Broadway run, can be re-energized with the elixir of youthful creativity, especially when a director has managed to tie that force and hunger to the theme of the show....“It’s our time,” goes the Sondheim lyric to the song that I suspect most inspired Jessica Redish’s simple but effectively staged production, “breathe it in: worlds to change and worlds to win,” - Chris Jones, Chicago Tribune

"Redish’s accomplished staging and an insanely talented young cast do quite well," - Kris Vire, TimeOut Chicago

"It is so refreshing to witness a director and a cast of top young Equity talents from The Music Theatre Company take over and embrace a failed work and make it into a wonderful evening of musical theatre. That is exactly what awaits you in Highland Park with director Jessica Redish’s smart remounting of Stephen Sondheim’s Merrily We Roll Along," - Tom Williams, Chicago Critic 

"Director/Choreographer Jessica Redish allows the actors and audience to see into each other’s eyes with her able cast of players showing the true feeling and emotion of the story and the glorious words of Sondheim’s music and lyrics," - Al Bresloff, AroundTheTownChicago.com

"...I was able to see in this nuances that director Jessica Redish was able to create for this specific production such as in the opening silence of Jarrod Zimmerman [playing Franklin Shepard] standing on stage playing the piano and how this production was able to give a conclusion to the piece before any dialogue was spoken that wasn't in previous productions of the show that I've seen." - StagetoPerformOnBlogspot.com

She Loves Me - Writers Theatre, Glencoe, IL

"Choreographer Jessica Redish has created some pleasurable dance interludes, notably witty shadow dances behind a curtain at the restaurant," - Dan Zeff, Chicagoland Theatre reviews

"Jessica Redish, provide[s] many amusing, visual stunners, including Christmas shopping and silhouette dancing," - Katy Walsh, Chicago Theater Beat

Green Eyes - New York International Fringe Festival, NYC
Directed by Jessica Beth Redish

"...the magnificent new musical Green Eyes...composer-lyricist Brian Mazzaferri, choreographer Lizzie Leopold, and director Jessica Redish have crafted a work in which its characters may revel or rebel, but may never wallow.

Everyone is superb because of the others, because the actual ([Nick] Blaemire and [Celina] Carvajal) and the ideal ([Ryan] Watkinson and [Melissa] Bloch) clash so often they become indiscernible. That's just how it should be. The caresses loading Leopold's dances, the warm embraces and tremulous steps away that fill Mazzaferri's score (especially as they ripple through Matt Hinkley's terrific five-piece band), and the light-footed hopefulness of Redish's staging only further highlight this.

Taken together, they make Green Eyes the rare vest-pocket love story that's as epic in scope as it is intimate in stature. But it's also something considerably more important: musical theatre in its most exciting, elemental form." - Matthew Murray, Talkin' Broadway

"...a remarkably ambitious piece of theater...I'm sold...Though it's a simple story, Jessica Redish directs the work with, as the song goes, "loving ambiguity," working toward the emotionally rich experience...it's marvelous work all around...my eyes were wide open throughout." - Aaron Riccio, ShowShowdown.com


Oedipus for Kids! - New York Musical Theatre Festival, NYC 

"A cute spoof of children’s theater, with some truly funny songs and endearingly loopy performances from a cast of just three," - Charles Isherwood, The New York Times

"...a dark musical comedy, channeled through the sugary sweet world of children’s theater. This twisted treat lives up to its outrageous title admirably, thanks to the wicked wit of the creative team. Highlights include...Jocasta’s showstopping Latin rhythm-tinged 'My Husband is My Lover is My Son,'...as horrifyingly fun as it sounds." - Joe Tropia, Broadway.com

Falsettos - Northwestern University
Directed & Choregraphed by Jessica Beth Redish

"The finest mounting of this show I've seen to date. This slick, well-sung and deftly choreographed musical enchanted me like few shows have. I can't recommend this show enough...this cast gave the show a simple honesty wtih enough humor and heart to satisfy." - Tom Williams, ChicagoCritic.com

And the World Goes 'Round - La Red Productions at Noyes Cultural Arts Center
Directed & Choregraphed by Jessica Beth Redish

"Cleverly-staged...refreshing. An outstanding show that sings and dances fantastically." - Tom Williams, ChicagoCritic.com