Elizabeth Gillies Delivers a Nostalgic 90s Performance at The Laurie Beechman Theatre

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A nostalgic setlist allows Gillies to explore new tones and styles

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90’s , Elizabeth Gillies ’ latest solo show, played at The Laurie Beechman Theatre on May 18th, trading in her usual cabaret stylings for something looser and more nostalgic. Instead of the jazz standards she typically leans into, this show fully committed to a lineup of 90s classics, creating a set that felt both personal and crowd-aware without losing her signature control as a performer.

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What made the night especially interesting is how clearly it stood apart from her past shows. Gillies is known for that polished, jazz-forward sound, but here she let herself move across genres in a way that felt a lot more open. The shift into 90s music gave her space to play with tone and attitude, jumping between softer, more introspective moments and bigger, more expressive numbers. It never felt like a gimmick either. The choices felt intentional, like songs she genuinely wanted to sit in rather than just perform.

The band helped make that transition feel seamless. With Tom Kitt on music direction and piano, supported vocally by Ferry Townes and backed by Aaron Romeo, Jaylen Petinaud, and Alex Nolan , the sound stayed tight while still allowing for flexibility. There was a strong sense of trust between Gillies and the musicians, which let the arrangements breathe without losing structure.

The show opened with a run of songs that immediately set the tone. Tracks from Sheryl Crow , “Linger” by The Cranberries, “One Hand in My Pocket” by Alanis Morissette , and material from Dido created a relaxed but emotionally grounded opening stretch. Gillies didn’t rush into big vocal moments. She let the songs build naturally, focusing more on tone and phrasing than pushing for impact too early.

As the set continued, the variety really started to show. High-energy numbers like “Just a Girl” by No Doubt gave her space to lean into a sharper, more playful edge, while ballads like “Angel” by Sarah McLachlan pulled things back into something more controlled and reflective. Then you had grittier songs like “I’m the Only One” by Melissa Etheridge , where she tapped into a stronger, more grounded vocal quality. What stood out most was how well she adjusted between those styles. Nothing felt out of place, even as the tone shifted.

The closing stretch leaned fully into the nostalgia. Starting with the Full House theme song, the set moved into “Torn” by Natalie Imbruglia, followed by a standout moment from Tom Kitt with “Wonderwall” by Oasis, before landing on “What’s Up?” by 4 Non Blondes. It felt like a true wrap-up of the night’s energy, balancing humor, familiarity, and strong musicality without tipping too far into novelty.

Overall, 90’s worked because it didn’t try to reshape Elizabeth Gillies into something she’s not. Instead, it let her step slightly outside her usual lane while still keeping the control and musical awareness that define her as a performer. The result was a show that felt relaxed but still precise, nostalgic without being overly self-aware, and most importantly, genuinely enjoyable to sit through from start to finish.

Follow Elizabeth Gillies on Instagram here .

Find upcoming shows at the Beechman on their website here .

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/cabaret/article/Review-Elizabeth-Gillies-Back-us-back-to-the-90s-at-The-Laurie-Beechman-Theatre-20260530)._