‘Fame the Musical’ dances up a storm in a new bilingual production” - Nelson Pressley

“Luis Salgado’s first artistic language appears to be dance, which may be the pivotal reason the director-choreographer’s new production of “Fame the Musical” performs way above expectations. The wide stage at GALA Hispanic Theatre is mainly kept open, and Salgado quickly fills it with dancers in crisp, kinetic motion. The setting is a high school of the performing arts — you remember — and the talent burst is thrilling.” - Nelson Pressley

“Salgado’s show powers through a lot of issues thanks to its inclusive cross-cultural nature and its international cast. Having actors from all over is not unusual at GALA, but with about 25 onstage performers, a band of 10 plus three student artists, this ensemble is substantially bigger than most. Salgado knows what he’s doing with all of them.” - Nelson Pressley

“The design is consistently smart — lights by Christopher Annas-Lee that get showbizzy when needed, costumes by Robert Croghan that capture the boldness of the high school characters, a sound design by Roc Lee that doesn’t entirely master the problem of pumping a pop-rock score into the echo-making decorative dome over the stage in the historic Tivoli space, but that mostly gets the upper hand.” - Nelson Pressley

“The work is as solid as the company’s “In the Heights” was two years ago, so while GALA has produced a valuable stream of new and classic Latino works — largely plays — for more than four decades, if the organization can produce musicals this well, they may want to figure out how to keep that in the mix. And remember Salgado’s name.” - Nelson Pressley

“As director and choreographer, Luis Salgado is the heart and soul of this production. Famemarks Salgado’s triumphant return to DC after winning last year’s Helen Hayes Award for directing GALA’s In the Heights. “There are many directors with talent,” one audience member said to me after seeing the show the other night. “But Luis directs from the heart.” - Nicole Hertvik

“This is one of those rare theatrical experiences where the components meld so fluidly that you sit entranced by the magic unfolding before you. Salgado’s choreography is so crisp, so vivid and alive, that the excitement pulsates off the stage and straight into your heart. His direction is so clear and concise that the entire team is united in one shared purpose.” - Nicole Hertvik

“The performers, as a group, are at the top of their game, triple threats able to precisely execute Salgado’s vision. The lighting (Christopher Annas-Lee) takes it all to the next level, whether uplighting a single determined face, or offering pulsating glimpses of dancers’ intertwined bodies in a club scene. Clifton Chadick’s scenic design places us squarely in a New York City school and then dumps us out onto New York’s gritty streets.” - Nicole Hertvik

Checkout the full article at Washington Post By Nelson Pressley and DC Metro Arts By Nicole Hertvik