Grey Henson (Photo: Marc J Franklin)
BIGFOOT! A New Musical
By Matthew Roland
Nestled between a chemical dump site and a looming nuclear power plant sits the small town of Muddirt, an offbeat enclave populated by a zany cast of misfits and one larger-than-life mythical creature. Bigfoot! A New Musical is now playing at New York City Center Stage in association with Manhattan Theatre Club. With its blend of environmental absurdity, small-town satire, and cryptid lore, the show plants its hairy hero squarely at the intersection of folklore and modern musical comedy.
This kind of story (book by Amber Ruffin and Kevin Sciretta) isn’t exactly new to avid theatergoers. Breathing fresh life into the classic “woe-is-me” outsider trying to fit into society, a trope we’ve seen time and again, is no small feat, and making it feel genuinely exciting rather than familiar is an even greater challenge. The book delivers some jokes that earn real laughs, but the repetition dulls their impact, often feeling like putting a hat on a hat.
With music by David Schmoll and Amber Ruffin, and lyrics by Ruffin, the score pumps a familiar ’80s vibe into the show, firmly establishing its era. Synth-driven piano lines and a soaring guitar solo make the numbers undeniably fun in the moment but quickly forgotten (David Schmoll did the arrangements; Alejandro Senior is Music Director). Aside from the opening and closing hook of “Muddirt, Muddirt”, little lingers once the curtain falls. A musical should send you out of the theater humming, or at least hoping for a cast recording, but here, no single song demanded a second listen.
Crystal Lucas-Perry, Katerina McCrimmon, Jade Jones, Alex Moffat, Jason Tam (Photo: Marc J Franklin)
Director and choreographer Danny Mefford clearly leans into the show’s chaotic energy, but in doing so, he buries what feels like its central aim: heart. The production prioritizes slapstick over sincerity, pushing emotional grounding into the background in favor of escalating bits. A gag involving a female character repeatedly “passing out” and being slapped awake isn’t especially funny the first time let alone the third or fourth. Similar attempts at shock humor quickly feel like cheap bids for laughs rather than earned comedy. What might have landed as playful absurdity instead grows repetitive, wearing thin far sooner than may have been intended.
Tasked with giving Bigfoot his iconic look are costume designer Ricky Reynoso and wig, hair, and makeup designers J. Jared Janas and Cassie Williams. With multiple layers of fur and high-sitting hair, the character truly comes to life. Where the design falters, however, is in the makeup: despite the costume’s intricate details, the makeup feels like an afterthought, likely done to keep as much of the actor’s face visible as possible. Simple yet effective set design by Tim Mackabee brings the town of Muddirt to life.
At the helm of the musical is Grey Henson as Bigfoot. His take on the mythical creature leans into wide-eyed optimism, with a campy edge befitting the SASS–quatch. Henson handles this brand of comedy with ease. It’s a style well within his wheelhouse, but the performance feels overly familiar, echoing roles he’s played before. For audiences hoping to see him stretch into something new, the result may feel more comfortable than compelling.
A small but powerful ensemble brings life to both featured and supporting characters, delivering incredible vocals and sharp comedic timing. Standouts include Jade Jones, who plays a range of roles simply credited as “As Cast,” and expertly flexes both acting and vocal chops, exploring the non-binary world of each of their characters with nuance and energy.
Crystal Lucas-Perry, whose portrayal of Francine, Bigfoot’s mother, is endearingly neurotic and fiercely protective; she brings the most substance to her role. Her character’s journey is the most compelling and enjoyable to watch, slightly grounding the show amid its craziness.
Katerina McCrimmon, whose voice could easily blow the roof off New York City Center, has a blast as Joanne, fully showcasing her impressive vocal range in every song.
Grey Henson, Katerina McCrimmon (Photo: Marc J Franklin)
Jason Tam, ever charming as the Doctor, plays a character who is just as satirical and over-the-top as the rest of the cast but somehow his presence onstage is oddly calming. Amid all the chaos, he lets the scenes breathe, showing that even the zaniest characters can anchor a moment when performed with such effortless poise.
Closing out the cast is the Mayor, played by Alex Moffat, whose over-the-top villain is pure cartoon energy, equal parts South Park, and a dash of fiery Yosemite Sam from the Looney Tunes. He’s loud, outrageous, and delightfully unhinged.
Jade Jones, Alex Moffat (Photo: Marc J Franklin)
Bigfoot isn’t a bad musical by any means. It’s fun, lively, and full of talented performers, but it’s hard to shake the feeling that you’ve seen it all before. Even with a mythical creature at the center, the familiar themes of outsider angst and small-town chaos feel well-trodden. It’s still an enjoyable night at the theater, with laughs, and impressive performances, but it’s not a show I’d be on the hunt for again.
At New York City Center Stage 1
131 W 55th St.
Running time: 90 minutes, no intermission
Through April 26, 2026
