Bigfoot! – 28 February 2026

My surprise favorite new musical thus far this season, Bigfoot!, is filled with comedic charm. Rooted in real life stories of corruption and greed, Bigfoot! imagines a world where those we demonize as monsters can be kind, and those we elect to help us can be cruel. In the fantasy town of Muddirt, a scheming mayor (Alex Moffat) distracts the townspeople with “The Hunt”—a need to find and kill a mythical monster who he alleges is terrorizing the town. This is a diversion so that he can build a waterpark called, “Splashtown” for his own financial benefit. Hilarity ensues when lonely Bigfoot (Grey Henson) befriends the town and becomes a tourist attraction that helps rebuild Muddirt’s economy. Each number funnier than the last, Bigfoot! reminds us of the importance of connecting with each other and building a community that cares about itself.

One of the elements that makes this musical so entertaining is the talent that clearly shines in every cast member, and the commitment that they devote to roles that demand that they be big and bold. In particular, the members of the ensemble—Jade Jones (As Cast), Crystal Lucas-Perry (Francine), Katerina McCrimmon (Joanne), and Jason Tam (Doctor). These four performers have mastered the skill of being over the top without becoming unlikable. They remain deeply human even in moments of breaking character to share an unusually spot on observation deliberately written about our current world designed to add fuel to keep the fun fire of satire burning for the audience. Without these absolute gems of humor for adults injected into the book (Amber Ruffin, Kevin Sciretta), I would fear that future iterations of this show would end up in schools as a great story about befriending someone in a furry costume. These one-liners are the lifeblood of the brilliance of Bigfoot! and what keeps people entranced.

The design elements of Bigfoot! were incredibly well thought out and really maximized the potential of this space.  Each element played a part in reinforcing the idea that we can be silly while talking about something serious, and we can be serious while talking about something silly. Tim Mackabee’s set had elements that felt very real and elements that were obviously absurd. The model of the town that Bigfoot allegedly created as a hobby is very striking and meaningful and the back of the gentleman’s club was impeccably decorated. Meanwhile, signage involving mayoral initiatives was hollow and looked fake. Mextley Couzin’s lighting design was profoundly beautiful in musical numbers like “You’ll Look Good” and campy in numbers like “My Love Burns”. Sun Hee Kil’s sound design came through clearly, even though most of the effects were to make “The Hunt” stand out. Best of all, Ricky Reynoso’s choices about Bigfoot’s fat distribution worked incredibly well with Danny Mefford’s choreography and kept us laughing at the femininity of the monster’s body.

The full commitment of the cast in conjunction with the creative team helped this show soar to its maximum potential in terms of entertainment. Bigfoot! offers something for every theatre goer—the societal skeptic, the music lover, the person who just needs a laugh, the lonely, the lost, and the theatre believer. It is a charming experience that effortlessly contains a journey to a place we’ve never been that contains familiar elements of places we know well—both in our world, and in our hearts.

I attended this performance on a press pass from DKC/O&M.