"'A Commercial Jingle for Regina Comet'...feels like the first pancake to come out of the pan: It’s a little undercooked, a little misshapen, but we’ll eat it anyway because hey, it’s still a pancake."
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"Regina Comet feels so determined to be lightweight fun that it ends up leaving no impression at all. The characters are paper-thin; the gags are slight; and the story is nonexistent. Despite some strong performances and an often excellent staging, it’s a cute but flimsy 80 minutes that drifts from one’s mind before you’ve even reached the train."
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"This isn't the best new musical playing in New York, but you're guaranteed to laugh at this irreverent send-up of the more cynical aspects of the entertainment industry."
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If A Commercial Jingle for Regina Comet had even a nodding acquaintance with reality, there might be some amusement in the premise of a has-been tangling with desperate wannabes. But the show unfolds in a Cloud Cuckoo-Land version of show business.
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"It isn’t that the songs are bad. It’s that they just aren’t good enough. Too many impress as familiar-sounding power ballads, some almost but not quite reminiscent of the Barry Manilow songbook."
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"Truthfully, one wishes it were more tongue-in-cheek; that’s where Fankhauser’s and Wyse’s writing is the strongest."
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"A clever premise which doesn’t go far enough in developing its ideas and resembles such earlier shows as [title of show] and The Other Josh Cohen. However, like a great many light entertainments, it is diverting and pleasant enough without leaving its audience with much to take home. However, its star turn by Bryonha Marie Parham in the title role is top-drawer."
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"Parham is a terrific singer and a game comedienne, and the premise...is nonsensical enough that it could have fueled a wacky spot-on parody... The creative duo seem more engaged in attempting to channel their Borscht Belt ancestors...some delightfully silly sight gags."
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