PERRY — Heritage Theatre consistently delights me with their ability bringing together impressive local talent, and their current production of the beloved musical Newsies has done it again. Based on the Disney film with music by Alan Menken and Jack Feldman and book by Harvey Fierstein, Newsies tells the story of young voices rising up against power as Jack Kelly leads the Newsboys’ Strike of 1899. This production pulses with energy, optimism, and grit—much like the “newsies” themselves as directed and choreographed by the talented Alyn Bone. Using powerhouse leads, a live ensemble to accompany the actors, and an emotionally resonant message, Heritage Theatre’s production of Newsies is not to be missed.
At the heart of the show is Jack Kelly, played with confidence and charisma by Corbyn Macari. Macari commands attention and plays Jack with both swagger and sensitivity from Jack’s first appearance on stage. It is easy seeing why the rest of the cast would follow Kelly. Macari’s vocals are strong and expressive, delivering “Santa Fe” with aching hope and “Seize the Day” with stirring leadership while dancing with impressive technique. Macari turns his adorable, dimpled smile on Katherine (Kirsten Shirley) as Kelly flirtatiously banters with her, but their duet “Something to Believe In” was tender. Each character seemed so vulnerable admitting their feelings and falling in love.
NEWSIES at Heritage Theatre plays through June 28th, 2025. Photo credit: Wright Photography
The supporting cast gives equally stirring performances. Matt Child as Crutchie delivers a heartfelt and nuanced performance. Crutchie’s solo “Letter from the Refuge” is one of the emotional high points of the show. Child sings with vulnerability and just the right comedic timing for a bittersweet chuckle.
Tanner Jeppson’s Davey is grounded and sensible. Davey is skeptical of Jack’s smooth manner from the moment they meet, raising one eyebrow giving Jack an incredulous Spock-like frown. Jeppson’s Davey has a nice arc warming up to Jack and lending an earnest strength to the fight. Jeppson’s vocal work blends nicely with Macari’s in “The World Will Know.” Davey’s little brother, Les, is played by young Hunter Merkley, who has natural comic timing and pure stage presence—this kid is downright adorable and brings a bright spark to every scene he’s in.
Kirsten Shirley makes a spunky and engaging Katherine Plumber. Shirley tackles the challenging solo “Watch What Happens” with intelligence and humor. In addition to their duet, Shirley’s scenes with Macari are full of charm and chemistry, their vocals blending beautifully and making Jack and Katherine’s budding romance feel believable and sweet.
As the antagonist, Jacob Draper has a domineering stage presence as Joseph Pulitzer. Draper effectively channels the energy of a robber baron, representing the kind of institutional power the newsies are rallying against. Draper’s performance makes the stakes feel real. Draper’s larger frame looms over Macari’s more diminutive, youthful build, further highlighting the “David vs. Goliath” theme of the show.
Director Alyn Bone deserves applause for pulling off a production of this scale and complexity in the more intimate stage at Heritage. Bone also collaborated on the choreography with Kallee Shelley and Spot Beecher making dynamic dances fill the stage. I appreciated the use of dancer’s individual talents during a dance-off by letting each show their best moves, spins, and flips. “King of New York” is a standout celebration of youth and defiance, bursting with life and momentum.
Photo credit: Wright Photography
Bone’s direction also allows quieter moments to breathe, giving weight to the emotional arcs without slowing the show’s brisk pace. In a world of pre-recorded tracks, there’s something profoundly moving about hearing a live ensemble accompany a musical, and the difference is felt here. Music directors Johnny Aird and Troy Wilson—who also serve as the piano and keyboard players—lead a tight ensemble that gives the show vitality and energy. One of the most powerful moments was during Jack’s reprise of “Santa Fe” at the close of Act One when he’s running from the authorities. Macari gives the scene such emotional range and was given license to play with the timing of the music here, something that works best with a live ensemble. The live accompaniment here responds to the actor and lets Macari fill that moment with raw emotion. It was heartbreaking and beautiful.
One subtle but effective element of the show is the costume design palette, which uses color strategically to highlight key characters like Jack and Davey. Amid the sea of muted warm colors that fill the world of 1899 New York, Jack and Davey wear saturated cool colors of blue and green to draw the eye right to them. The costumes are credited to Amber Beecher, Amber Downing, Becky Montgomery, Abby Peterson, and Stephanie Morley.
A backdrop of the New York skyline sets the scene with set design by director Bone. The set evokes the gritty tenements and bustling streets with practical simplicity. The lighting by Sariah Alldredge keeps the energy flowing and helps shift mood quickly, and the small stage is used effectively, never feeling cramped despite the large cast.
The Heritage Theatre’s show has a lot of heart, with every performer onstage giving their all. The result is a production feeling alive, urgent, and real. Newsies is a classic for a reason: it’s not just about entertainment; it’s about everyday people coming together to create something meaningful. It’s about children seeing themselves onstage and learning they, too, have voices worth hearing and everyone remembering that change often begins with just a few people saying, “This isn’t right.” When many communities feel fragmented and people can feel powerless, Newsies is a rallying cry that anyone can make a difference. Whether you’re a longtime fan or discovering it for the first time, this production is worth the price of admission. It will make you laugh, cheer, maybe cry—and definitely want to seize the day.
