Who Will Be Streaming the Fame Searching Crossover, A New Pop Musical?

Who Will Be Streaming the Fame Searching Crossover, A New Pop Musical?

Who will become the next Crossover champion?” That’s the big question put forth by the effervescent Lila Selleck, played to the silly max by Annie Fang (InterAct Theatre’s Man of God), the flummoxed host of the newest singing competition show that is at the center of Green Light Group‘s new show, Crossover: A New Pop Musical that is premiering this month online. In the streaming pandemic world that we find ourselves somewhat trapped in, this new musical tries to enliven the format with a competing artistic twist. With an original book and score by Danielle E. Moore, and directed by Amanda Pasquini (Penn State’s Of Mice and Men), Crossover circles itself around the drama inside a televised singing contest; much like the more polished American Idol or The Voice, minus a few celebrity judges, and the competing artists that face off with one another, at least initially. The four female singers must utilize all of their skill and expertise in both writing and performing across numerous different genres, in the hopes to win the title of Crossover Champion.

Boris Dansberry (left) and Taylor J Mitchell (right) in Crossover.

It’s a two-hour sing song premise that seems ideally suited for a digital presentation, giving the four young women; Taylor J Mitchell (KCAC’s All Lives Don’t Matter) as Regina (“Reggie”) Carlyle, Boris Dansberry (Arden Theatre’s A Midsummer Night’s Dream) as Maxine “Max” Green, Chelsea Cylinder (Broadway Theatre Of Pitman’s Peter Pan) as KC Parker, and Ali Walker (…Spelling Bee) as Hallie Harper, ample chance to shine and enlighten. When the four young hopefuls find themselves in a surprising tie in the regional competition, they decide, against their initial impulses, to rally together to form and compete on the national broadcast as the all-girl singing group, ‘Four-Way Tie‘. Each of the four come to the streaming table with some pretty good acting chops and some unique vocal stylings. They bond and fight their way through the bumpy uphill road to fame and infamy, with a special appearance by a famous rock star, Shea Stone, portrayed by Donovan Lockett (Theatre Horizon’s White) who throws a few twists and turns on their journey up to the stars. Weaving in and around the four is their one and only competitor, the solo male presence in this production, Chris Murphy Smith (Upper Darby Mainstage’s Big Fish) as the supposedly seductive but annoying Jack Tyler. Naturally the ladies have to learn a lot about one another and themselves as they ride that road to stardom. The obstacles are numerous, and the challenges neatly devised, with the final product arriving at the destination pretty well intact.

Chris Murphy Smith (left) and Ali Walker (right) in Crossover.

Crossover works hard to bridge and unpack a number of gender and sexuality issues that are both timely and uniquely crafted, while also throwing in some standard dealings with love and familial issues a plenty. This is all while singing out a score that tries hard to achieve. The songs find their way through the landscapes of dance pop, country, R&B, and rap, fairly successfully, although not remarkably, challenging the vocal capabilities of the artists, particularly when the four try their best to harmonize. Mitchell’s “Heartbreaker/Traitor” sings out the strongest of the bunch, getting the closest to a standout, as the cast, as a whole, try their best to deliver the show’s somewhat overly simplified message, that “love between women, romantic or otherwise, is something to sing about.” I feel you, although I wasn’t quite with you all the way.

Chelsea Cylinder (top left), Boris Dansberry (top right), Taylor J Mitchell (bottom left), and Ali Walker (bottom right) in Crossover.

The New York City premiere of Crossover: A New Pop Musical is being streaming Saturday, December 12th at 8:00pm as part of the 2020 Rogue Theater FestivalCrossover will be presented virtually as a live stream. Tickets are $12.00 and are available through the Rogue Theater Festival’s ShowTix4U Page. A link to the performance will be sent with each ticket purchase. 

The show is produced by Chelsea Cylinder and Danielle E. Moore. Moore, the Writer, Composer/Lyricist, Co-Producer, Music Director of Crossover, is an NYC-based writer and producer, and is also the Executive Director of Green Light Group Productions, a production firm devoted to the creative development and production of new works across stage, screen, and new media whose New York City credits include GATSBY, a new musical adaptation of F. Scott Fitzgerald’s classic novel, as well as an original musical about the life of Audrey Hepburn

Crossover: A New Pop Musical.

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My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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