Displaying items by tag: Broadway in Chicago

You’d think that a 1956 musical about a man who doesn’t like women all that much and the woman who lets him refine and control her wouldn’t hold up in 2022 (especially in light of the recent Roe v. Wade reversal which gives women far less control over their bodies and lives), but surprisingly for that very reason, it does.

Lerner and Lowe’s classic stage musical My Fair Lady — based on the 1913 George Bernard Shaw play Pygmalion — tells the story of Eliza Doolittle, a young flower seller with a thick Cockney accent that all but requires subtitles, and Henry Higgins, an exacting phonetics scholar obsessed with the English language and its various dialects. When he proposes that he could make coarse, street urchin Eliza passable as a duchess within six months, Eliza is intrigued. She shows up at his home asking for speech lessons so she can learn to speak “more genteel” and get hired at a proper flower shop. Thus begins the fraught relationship between Eliza and Henry, their days filled with vowel exercises and an inordinate amount of yelling.

Laird Mackintoshas Professor Henry Higgins andShereen Ahmedas Eliza Doolittle in The LincolnCenter Theater Production of Lerner & Loewe’s My Fair Lady

This 2022 tour of the 2018 Broadway revival features a well-rounded cast, a fantastic orchestra, and gorgeous, lush sets and costumes. Shereen Ahmed in the title role is beautiful, endearing, and sympathetic as Eliza; she’s easy to root for. And she’s done an impressive job mastering Eliza’s uncouth Cockney as well as her polished English accent that first breaks through in the song “The Rain in Spain Stays Mainly in the Plain”. Her counterpart Henry Higgins, played by Laird Mackintosh, is often infuriating with his condescension but reveals enough vulnerability to show he’s capable of being changed by Eliza as much as she is by him.

If you’ve never seen My Fair Lady onstage or the 1964 film starring Audrey Hepburn, you’re still likely to recognize one or two of its songs. “On the Street Where You Live” has been ubiquitously covered, and “I Could Have Danced All Night” is easily the musical’s most recognizable song. Other notable numbers include “Wouldn’t It Be Loverly”, “Get Me to the Church on Time”, and “I’ve Grown Accustomed to Her Face”. There really isn’t a bad song in the show. 

Throughout the production, there’s some subtle birdcage imagery: First, we see that one of Eliza’s few prized possessions is an empty birdcage, and second, the elaborate set for a ballroom scene where Eliza first makes her debut as a high-society lady showcases outlines of peacocks outside of empty birdcages. As Henry suggests at the start of the story, Eliza’s lower-class dialect has held her back in life, trapped her where she is. She’s a woman of wit, charm, beauty, and street smarts, but 1913 London society can’t look past her unpolished appearance or hear past her unrefined, loose-voweled accent. Learning to speak “properly” sets her free, opening her up to worlds she never would have been allowed into before.

Kevin Pariseauas Colonel Pickering,Laird Mackintoshas Professor Henry Higgins andShereenAhmedas Eliza Doolittle in The Lincoln Center Theater Production of Lerner & Loewe’s My Fair Lady

Though Henry’s lessons enrich Eliza’s life, his treatment of her, especially in the first half of the show, is undeniably harsh. In fact, he seems to have a problem with women as a whole. In one of his songs, “I’m an Ordinary Man”, he rants about women’s fickleness and sentimentality, repeating the line, “I will never let a woman in my life”.  I wasn’t sure how audiences would react to this song or the character of Henry Higgins in 2022. 

But as I said, My Fair Lady surprisingly holds up. Because we view the story through a different lens now. In the 50s, they likely laughed with the man and his exasperation with an insufferable woman, and in 2022, we laugh at the man’s outdated ideals — not to mention the woman’s exasperation with the insufferable man.

My Fair Lady is playing at the Cadillac Palace Theatre at 151 W Randolph St. through July 10, 2022. Tickets are available at BroadwayInChicago.com or by entering the daily ticket lottery.

It’s hard to cheer and yell with a mask on. But that I did right along with the entire crowd at “Paradise Square,” as Joaquina Kalukango delivered a shatteringly powerful show-stopper, “Let It Burn,” holding the audience in her thrall for every second.

This was the best but not the only great moment in “Paradise Square,” which opened its five-week, pre-Broadway run November 2 at the Nederlander Theater and officially opens November 17. It’s the relatively unknown tale of the Five Points District in New York City, the tough section that is portrayed circa 1846 in “Gangs of New York.”

Set during the Civil War in 1863, “Paradise Square” tells of the Black community of free-born men and women who lived in harmony with Irish immigrants, intermarrying, and singing and dancing together. The score draws on the music of Stephen Foster, who had lived and worked in the Five Points. 

But as the Civil War rages on, the Union declares an unprecedented military draft, affecting only white working men. Blacks were exempted from the draft because they were not  considered citizens. Wealthy people could hire substitutes. The immigrants resisted, and eventually turned on their Black neighbors to vent their rage, leading to the infamous New York Draft Riots of July 1863. This is not glossed over in "Paradise Square" but is the main plot point. 

Kalukango plays the central role of Nelly O’Brien, proprietor of the saloon in which the action takes place. Her Irish immigrant husband is Willy O'Brien (Matt Bogart); her sister-in-law Annie O’Brien (Chilina Kennedy) also works in the saloon, though her husband is a preacher, Reverend Samuel Jacob Lewis (Nathaniel Stampley).

Kalukango is the dramatic anchor throughout the show, but it is her transcendant performance of "Let It Burn" that also serves as the climax of the plot, and its denoument. We’re talking Jennifer-Hudson-in-Dream-Girls calber, perhaps even better. Really!

Other spectacular moments include the performance of A.J. Shively as newly arrived Irish immigrant Owen Duigan. Shively is a sensational singer and dancer. Each time his lilting, filigreed tenor launched into “Why Should I Die in Springtime,” tears welled in my eyes. 

Chilina Kennedy gives us an Annie that is a firebrand and a spark plug. The beauty of her soprano is a perfect complement to Kalukango’s powerful mezzo-soprano. When the two sing a duet, it is sublime.

But this is even more a show about dance. Featuring choreography by Bill T. Jones, it shows off many dance styles, emphasizing Irish step-dancing and Black American Juba, as well as tap dancing, believed to have originated in Five Points. Jones’s choreography greets us as soon as the curtain rises in an opening scene in which the preacher blesses departing soldiers, two wraiths do what might be described as a liturgical dance.

Jones also crafts the visual representations of the Underground Railroad, which in this show is given parity with Ellis Island as a point of entry for Black immigrants from the South. "Paradise Square" breaks new ground in its full embrace of the Black journey as a part of all of our stories in the formation of America.

Produced by Garth Drabinsky, “Paradise Square” is directed by Tony Award nominee Moisés Kaufman and a book by Christina Anderson Marcus Gardley, Craig Lucas and Larry Kirwan. The production features the “re-imagined” songs of Stephen Foster and original compositions, with a score by Jason Howland, Nathan Tyson, Masi Asare, and Kirwan.

There are some weaknesses in "Paradise Square." As might be expected with four hands scripting and five composers involved, we have a story that is everything and the kitchen sink, plus music and dance. The music is continuous and at times, soaring. But much of it is undistinguished. The second half is refreshingly direct, and regardless of its shortcomings, "Paradise Square" is not to be missed. 

TICKET INFORMATION:
Tickets are available for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it..  
Paradise Square is part of theBroadway in Chicago subscription which launched in August. Individual tickets for Paradise Square are at www.BroadwayInChicago.com. 
 
All Broadway In Chicago schedules and productions will continue to be reviewed as further guidance and recommendations are provided by the CDC, State of Illinois, and Chicago Departments of Health. Currently that means proof of vaccination must be provided to gain entry, and a mask must be worn throughout. For the latest health and safety procedures and guidelines visit BroadwayInChicago.com/COVID19.

Though I loved her music and her voice, I knew little about the celebrated Queen of Disco, Donna Summer - before seeing the Broadway in Chicago show about her. Summer: The Donna Summer Musical tells it all, an engaging narrative spiced with the diva’s great music, beautifully performed.

Musically, Donna Summer was distinctive from other techno-driven disco singers when she burst on the scene in the late 1970s. Her music had a spirit to it, an emotional depth, a poignancy suggesting a trapped soul yearning to escape and express itself.

In Summer the stage musical at the Nederlander in Chicago, her songs are set against the arc of her life. Three singers play her at various points: Alex Hairston is the younger Disco Donna; Dan’yelle Williamson is the older Diva Donna; and Olivia Elease Hardy, “Duckling Donna,” plays scenes earlier in her life. 

Donna Summer wrote or co-authored many of her hits. Not every song is sung in total (though many are) - but we hear enough of each one to be satisfying, and to advance the action. Of course not all her hits would fit in the show - which is one hour and forty minutes with no intermission.

We hear the incomparable "McArthur Park" cover - the first release that fulfilled her ambition to be more than a just disco queen. We hear “She Works Hard for the Money” and learn it was the completion of a contract obligation as she left her old studio for a better agreement.

Reared in Boston, third of seven children in a close-knit, nurturant family, she was the irrepressible performer, the ham, always putting together shows with her sisters performing and her family as audience.

As a teenager, she cut school to audition for a new musical, Hair - and was cast in the Munich production. (Her first single was "Aquarius," was recorded in German.) She found her way into another German recording studio on the strength of a demo track - where she was later discovered by another recording studio on the strength of a demo song, “Love to Love You.” From there she entered the wild ride of the pop star career - but Summer kept a level head. 

As the show recounts it,  "Love to Love You" got her branded as a “Disco Queen,” a label she resisted at first. She always wanted to be a full-range vocalist. But the gates to fame and fortune beckoned, and she walked through them. 

We follow her home life - two husbands, both German, the second one Bruce Sudano, a bass player who fathered two of her three daughters. Played by Steven Grant Douglas, his duet with Alex Hairston as Disco Donna dancing within his guitar strap to "Heaven Knows" is a delight. 

This show is not a typical jukebox musical. Unlike Carole King, Tina Turner or Cher, the inspiration for Summer on stage passed away (from cancer, at age 44, in 2012.) Instead of a living legend, she is now legendary. And Summer the Donna Summer Musical at Broadway in Chicago will give you an appreciation of her life, well lived, through her songs, well sung. It runs through Feb. 23 at the Nederlander

Two kinds of people are loving the Broadway musical roadshow Waitress: fans of Sara Bareilles, the multi-platinum singer-songwriter who created the songs and lyrics; and fans of the 2007 Sundance sleeper hit film, Waitress.

That right there is a big built-in audience, and Broadway in Chicago is drawing them in to the Cadillac Palace Theatre – perhaps many of them new to live stage.

In this vibrant, energy-packed show, Desi Oakley plays Jenna, a young woman in a small town, who faces an unwanted pregnancy, trapped with an extremely abusive husband in a loveless marriage (for her, anyway), while working as a diner waitress at Joe's Diner & Pie Shop. (Jenna was played by Keri Russell in the film.)

Jenna’s specialty is pies, and these will be the key for one day to run her own shop – the successful resolution of the story in the film and a made-to-order happy ending for a Broadway show. The staff and customers of the diner provide the de rigueur corps of sidekicks, supporting characters, and chorus of singers and dancers. The sidekick trio largely makes the show work: Charity Angel Dawson is Becky, the tough waitress with a heart of gold; Lenne Klingaman play the ditzy waitress Becky; and Ryan Dunkin is Cal, the diner cook who looks like a tough biker but is really a pushover.

The show is lively and colorful, and avoids veering into the extremes of “manufactured musical” (like Jimmy Buffet’s Margaritaville) or jukebox show (The Cher Musical) – largely on the basis of Sara Bareilles’ excellence as a songwriter. The emphasis by Bareilles also seems to be on how the mother-to-daughter relationship transmits strength, values and aspirations - the baking is a metaphor for all those life values a mother hands off to her daughter. 

Bareilles’ music is generally not the kind you would associate with a Broadway show - which requires big dance numbers, and sufficient belting to the rafters to telegraph the story to the audience. But Bareilles does provide these numbers, as well the dance sequences (though most are done by seated members of the troupe in Joe's Diner & Pie House). We also get the humorous interludes, duets, and the familiar “advice” song styles, such as “Take It From an Old Man” by the wise old man Joe (Larry Marshall).

The more delicate and emotionally expressive style of Bareilles dominates the second act, with small settings away from Joes Pie Diner – making it really like two plays, Act II bringing us the emotional angst and catharsis – as Jenna finally asserts herself and leaves her horrid husband Earl (Nick Bailey is both a hunk and a dastardly bastard) that we associate with the film. (Interestingly, the film's writer and director also played a supporting role in the movie, the role of Dawn. 

Waitress runs through July 22 at the Cadillac Palace Theatre. You can't go wrong if you see it, especially if you area fan of Sara Bareilles.

On Your Feet! is the compelling rags to riches tale of Emilio Estefan and Gloria Fajardo Estefan’s odyssey - from dreaming Cuban immigrants, to stars who brought a fresh Latin flavor to the American song book.

It’s also a love story, and a musical journey. It wasn’t painless, either. And the story line – they flee the island as the Communists rise to power, they fight against great resistance by recording studios to allow them to cross over to general audiences - provides sufficient grist for a dramatic mill that makes this much more than a juke box musical.

The Estefans’ music, popularized through their band, the Miami Sound Machine, in the 1980’s, may be less a fixture of our contemporary music scene – Shakira, from Columbia, is now better known as a Latin music star and alone has sold more albums than Gloria. But without question the Estefans’ songs are embedded in our collective culture.

At first, producers refused to release their music outside the traditional Latin markets, thinking it couldn't sell to "ordinary" Americans. In the show, Emilio goes nose to nose with the record label executive, telling him, “This is the face of an American!”, a line that won healthy applause from the Cadillac Theatre audience.

The Estafans resorted to guerrilla marketing, bringing records directly to dance clubs and pop stations, and performing for free at bar mitzvas and a Shriners convention. The strategy worked, launching the 1985 hit, “Conga,” to the top of the charts While nowadays YouTube, Vimeo and Facebook would do the trick.

To tell their story, the two developed On Your Feet! With its creative team and the rich vein of Gloria Estefan’s music, On Your Feet! made for a likely slam dunk, and indeed it is. The road show is directed by Jerry Mitchell – he won a Tony for Kinky Boots - with choreography by Sergio Trujillo (you saw his work in Jersey Boys). And the book is Alexander Dinelaris, who received an Academy Award for the movie Birdman (about a Broadway play, by the way).

Excitement comes from the moment the curtain rises on the big orchestra, which plays from back stage. The scene soon moves to Miami’s Little Havana, where the dutiful young Gloria Estefan is doing laundry, and singing traditional songs. In fact, the varieties of music - from renditions of street songs, to a fully orchestrated and choreographed night club act from pre-revolution Havana (starring Gloria’s mother, played with panache by Nancy Triotin - shades of Chita Rivera!) - enrich this show musically.

The quality and precision of the choreography is also worth noting. These highly expressive yet disciplined dancers are among the best I have seen in any musical, anywhere.

In addition to featuring the best-of songs (“Rhythm is Gonna Get You,” “Conga,” “Get On Your Feet,” “Don’t Want To Lose You Now,” “1-2-3” and “Coming Out of the Dark”) the Estefan’s added some new transitional pieces for the show. Some familiar greats, such as “Words Get In the Way,” aren’t included in the show.

The drama crescendos when a severe bus accident nearly paralyzes Gloria, and her struggle to recover. In a fresh approach, Emilio (Mauricio Martinez) solos on, “I Don’t Want to Lose You Now,” one of Gloria’s most beautiful singles. It is a real showcase for Martinez, Mexico’s telenovela heart throb, who commands the stage and dominates his scenes. It also turns out he can dance really well.

While Gloria Estefan’s lovely contralto can’t be matched, she is said to have hand selected Christie Prades to play her character for this road show. Prades delivers a great performance both in song and dance, and she is a good actress to boot.

On Your Feet! originated here in Chicago in 2015 before making its celebrated Broadway run, and then returning to a road tour across the country and around the world. (It opened again in Chicago at the Cadillac Palace Theatre on March 23 and runs through April 8.)

‘S wonderful. “An American in Paris” was the surprise hit of 2015 on Broadway. It is of course the stage adaptation of Vincent Minnelli’s 1951 Best Picture winner of the same name. With familiar songs by George and Ira Gershwin, it would be hard not to be charmed.

To appreciate this “new musical”– you need to go back to a simpler, post-war era. Musicals were essentially plotless vehicles for stars like Gene Kelly and Judy Garland to showcase their talents. If some of the songs sound recycled here, that’s because they were. Often Cole Porter, Irving Berlin and the Gershwins repurposed their songs for multiple films. If it’s not broken, don’t fix it.

The stage musical devised by Craig Lucas and Christopher Wheeldon is fairly standard. While it may not be a reinvention of the wheel, it artfully pays homage to Vincent Minnelli’s lush style. Wheeldon’s ballet-flavored choreography is beautiful. The playfulness is tres Francais. Sometimes when a show hits the road, the production has to sacrifice some visual elements for the sake of portability. Not the case here. It’s impressive how well the vivid set pieces and projections travel. Visually, this “American in Paris” is stunning.

Sara Esty in the role as Lise evokes the spirit of a young Leslie Caron who starred in the original. Esty has been with the production since its conception at the Theatre du Chatelet in Paris. Though, her dialogue is sparse, she’s a lithe dancer and thoroughly adorable. Her co-star McGee Maddox takes up Gene Kelly’s role as Jerry Mulligan. What he loses in convincing line delivery he more than makes up for with impressive dance.

If you’re asking yourself, why “An American in Paris” or why now? Why not is a good answer. This show endures because it casts a heartwarming spell over audiences from varied generations. It may not be the most poignant musical, but for the nostalgia lover or Francophile this is sure to bring a smile to your face.

Through August 13 at The Oriental Theatre. 24 W Randolph. Broadway in Chicago

Oriental Theatre is currently housing one of the finest productions of The King and I that you will ever see. From its colorful set to its superb cast including Jose Llana who has mastered the role of the Siamese King, this particular creation if The King and I is simply wondrous.

The scrumptiously definitive Rodgers and Hammerstein musical about a spirited, brainy educator, Anna Leonowens, who the King of Siam brings in from England to teach his seventy-seven children and many wives both the English language along with Western culture. She is strong-willed, which throws off the stubborn and egotistical king, the two struggling, at times, to see eye to eye, especially when Anna states that women are every bit as important than men.

Laura Michelle Kelly has a large Broadway resume and shines as the show’s star in Anna offering genuineness to the role while providing a strong singing voice for the part. Kelly suffuses the character with wit, strength, empathy and a suffragette fervor which climaxes in the comical and still contemporary number, “Shall I Tell You What I Think of You?”

“All to remind you of your royalty,
I find a most disgusting exhibition.
I wouldn't ask a Siamese cat
to demonstrate his loyalty
by taking this ridiculous position
how would you like it if you were a man
playing the part of a toad.
Crawling around on your elbows and knees.
Eating the dust of the road!”

Jose Llana is about as good as it gets as the King of Siam (sorry, Yul Brynner). Llana is no stranger to the role having starred in two Tony-Award winning in Lincoln Center Theater’s revival of The King and I. As I suggested previously, he is made for the role. Delightful, attractive and able to charm the house one moment while displaying great frustration the next, Llana delivers a layered performance as the King, never falling into predictable distortion. Llana’s comic timing, humorous expressions and line delivery are spot on. He is convincing so that it makes perfect sense that his character is both gaining respect for the sophisticated and mature teacher while also being confused by his rising sense of incomprehension at her grasp of political awareness that progresses the destiny of his own family and finally, his entire Kingdom.

The chemistry between Llana and Kelly is explosive.

There is a very funny, yet revealing scene where the King is insisting that Anna’s head never be higher than his own. The King asks Anna to take dictation for an important letter to a visiting dignitary and sits down on the floor. When Anna finally sits down on the floor, the King moves to recline on one elbow and so forth till they are both completely reclining on the floor. Although, it is really a nonsensical demonstration of his manly power, Llana and Kelly manage to make it a funny exchange between two people who are each unaware they are gaining a true admiration for each other.

Other stories unfold throughout the production, that of a young couple whose love is forbidden as the King’s unwilling young captive, Tuptim (Manna Nichols), who is in love with Lun Tha (Kavin Panmeechao), her secret lover. At the same time, we see a young king in the making who is clearly influenced by Anna’s Western ways.

Marcus Shane steps in as Prince Chulalongkorn, the young boy who is next in line to be king, and does a solid job conveying his character’s gradually absorption of Anna’s wisdom and life lessons most notably at the show’s end when he pronounces that “excessive bowing to the King like a toad” is now forbidden. The young prince has clearly learned a lesson in humanity from his now adored teacher and friend, Anna.

Joan Almedilla is fantastic as Lady Thiang. Her stunning rendition of “Something Wonderful” is nothing less than breathtaking. Like the other cast members in main roles, Almedilla’s voice is yet another a true treat for the ears. It’s easy to get spoiled when seeing a well-performed Rodgers and Hammerstein musical because the words for every song are so unforgettable. “We Kiss in a Shadow” is also gorgeously sung by Nichols, as the love stricken Tuptim.

“To kiss in the sunlight
and say to the sky:
"Behold and believe what you see!
Behold how my lover loves me!"
And Panmeechao, Tuptim’s lover, performs the classic “I Have Dreamed” impeccably.
“I have dreamed that your arms are lovely
I have dreamed what a joy you'll be
I have dreamed every word you whisper
When you're close, close to me
how you look in the glow of evening
I have dreamed and enjoyed the view
In these dreams, I've loved you so
That by now I think, I know
what it's like to be loved by you
I will love being loved by you”

The costumes in this piece are true to the period while the dance numbers pleasingly choreographed and a radiant set worthy of its royalty is the finishing touch.
I highly recommend this dreamy, moving and humorous evening of unadulterated theatrical joy.

Rodgers and Hammerstein’s The King and I is being performed at the Oriental Theatre through July 2nd For more show information visit www.BroadwayInChicago.com.

I have to admit Aladdin is one of my all-time favorite Disney films so I was very optimistic upon entering Cadillac Palace to see the stage version. Turned into a live musical in 2011, Disney’s Aladdin has landed in Chicago for a five-month run with over three million people having already experienced the production worldwide. My hopes were high. I wanted so much to enjoy it. I entered the musical knowing the characters and creative team had a lot to deliver in order to please me - and deliver they did! Bringing to life the classic tale of Aladdin, Princess Jasmine, Genie and the villainous Jafar, I am happy to say the stage adaptation of the popular musical is a full-on magical adventure that exceeds expectations.

Adam Jacobs in the lead role of Aladdin has a wonderful voice, excellent dance skills and a charming, bright white smile that reaches all the way to the audience members in the back balcony much to their delight. Jacobs has some real star quality developing, which is a pleasure to see. Adam Jacobs as the poor thief trying to win Princess Jasmine’s heart with three wishes from a genie, really resembles a young Matt Dillon for those who remember the handsome, spirited hustler in the popular film "The Flamingo Kid."

Perfectly paired with Jacobs, Isabelle McCalla plays Princess Jasmine with a sassy, feminist air that was both endearing and inspiring to young girls without seeming cloying or coy. McCalla also has a lovely, yet strong stage presence and a wonderful singing voice. Yet the key to a successful production of Aladdin depends on the strength of the wish-giving imp and in this case Anthony Murphy nails the role of Genie. Murphy is deliciously saucy and upbeat in his interpretation of Genie and has great physical comedy timing and brings with him some impressive dance instincts. 

The fabulous tunes of Aladdin penned by Alan Menken, Howard Ashman and Tim Rice are brought to life by this talented ensemble directed by Devanand Janki with an abundance of energy and infectious joy! 

The magic flying carpet scene is every bit as enchanting as in the film when Aladdin posing as a prince offers to free Jasmine from her castle tower where she has been isolated from seeing the daily life of the real world. Aladdin finally shows her “A Whole NEW World" with a stunning backdrop of night stars, which create an effective and truly romantic flying carpet special effect that makes both adult couples and children alike say, “Wow, that's beautiful!" 

I loved the way the book has been altered to include the idea that an arranged marriage is politically incorrect even if it is an arranged marriage to a prince. This is a very serious problem in other countries and I was very pleased that the writers made it clear to the young women watching the show that in the end even Jasmines' father, The King, was forced to change the law in order to make sure his daughter was married to someone she loved, regardless of his social standing - that it was her choice, not his. 

Brian Sidney Bembridge (sets), Jesse Klug (lighting) and Debbie Baer (costumes) each deserve their own round of applause for their amazing accomplishment in creating the truly golden treasure room and flying carpet effects along with the colorful, rich designs that captured and dazzled the eye in every scene.

I highly recommend this show for adults who’d like to go on a romantic date as it dreamy and fun while reminding us of the innocence of love. Aladdin is, of course, also a great production for young ones to see because, unlike in some children's theater, the characters are fully rounded and the entire spirited cast really delivers on their opening number, “Arabian Nights”, successfully projecting the feelings associated with the magic and destiny of Love that is caused by such wonder and delight! 

Disney’s Aladdin is running at Cadillac Palace through September 10th. For tickets and show information visit www.BroadwayInChicago.com. 

The promise of hearing Sgt. Pepper’s Lonely Hearts Club Band performed live in its entirety drove me to RAIN, the Beatles' tribute band playing at the Oriental Theater. But the show is much more than that.

Perfectly controlled, with exactingly beat and chord progressions, RAIN lovingly renders selections from the Beatles repertoire to the ‘T’. The group has been playing for years - longer than the originals. A new generation of performers, all born after the Beatles stopped recording, has taken up the torch at RAIN to keep the songs alive.

It was founded by Mark Lewis, who began in the 1970's as a Beatles cover artist, and recruited the original players and made many of the arrangements they perform. Aaron Chiazza plays Ringo Starr; Paul Curatolo plays Paul McCartney; Steve Landes is John Lennon; and Alastar McNeil is George Harrison.

The players are not so much actors, as they are masters of performing as their Beatles characters. So while they are fully realized in musical performance, they can be a little wooden in beckoning to audience participation. Paul Curatolo succeeds most, channeling the warmth of Paul McCartney pretty closely, and he looks quite a bit like him. When Aaron Chiazza's Ringo Starr sings his solo, "With a Little Help from My Friends," he brings the house down by evoking one of many people's favorite Beatles personalities. Though the real Beatles were ready handy with social commentary, these Beatles do not make much small talk, commenting neither on current - or past - events. It's all about the music. And that's just fine.

Most of us never heard the Beatles perform live in person, so hearing their music in a concert setting is striking, but also a little unsettling in a real venue. The group is not exactly impersonating the Beatles, and there is inevitably some personal expression involved. But they do have the various songs nailed down pretty well. 

This show at the Oriental Theatre also gives us a hint of how it would have felt to hear the band play their own works on stage themselves. 

At the point when they recorded Sgt. Pepper (it was released in 1967) the Beatles had mostly ended live performances, and were doing studio albums and seeing themselves not as rockers, but artists. It wasn’t too long after when they broke up, recording their last album Abbey Road in 1969, and ultimately heading their own ways. (Let It Be was recorded in 1969, prior to Abbey Road, but released afterward.) 

The Beatles Sgt. Pepper’s Lonely Hearts Club Band was recorded over a four-month period from December 6, 1966 – April 21, 1967.  Released on June 1, 1967, it is considered to be the greatest rock album ever released. It was also the first concept album. So for the 50th anniversary of its release, RAIN has essentially created a performance art piece, and it is pretty awesome - and well worth seeing.

The album is just 40 minutes long, so it forms the core of the second act at the Oriental Theatre performances. The first half retraces the Beatles rise from Liverpool to global phenomenon. With a strongly representative selection of the history of Beatles music, it provides a wonderful context for the performance of Sgt, Pepper in toto. 

Visual backgrounds are nicely done, though if I may quibble, I expected a horse for "of course, Henry the horse, dances the waltz" rather than a cartoon carousel figure. I was also hoping for a full orchestra for the monumental "A Day in the Life."  The original recording used 40 classical musicians who were instructed to play gradually from their individual instruments' lowest notes to its highest, and to go gradually from the quietest to the loudest, over the course of 40 bars. That sound is pretty distinctive, and is simulated by RAIN's "fifth Beatle" Mark Beyer, who fills in all the synthesized music along the way. 

The show at the Oriental Theatre, a launch of the 2017 Tour, runs through April 2 here in Chicago, with remaining performances at 8 p.m. April 1, and 2 and 8 pm on April 2. Tickets are at www.BroadwayInChicago.com

The Bodyguard, The Musical begins with a bang!  Literally, the unexpected sound of gunshots combined with great strobe lighting effects made me (along with most of the audience) scream with delight and jump out of our seats!

I enjoyed this show from beginning to end with a strong starring lead in Deborah Cox and a very strong supporting cast of actors and dancers. I am a fan, though not a cult fan, of the 1992 movie The Bodyguard starring Whitney Houston and Kevin Costner. Although I wasn't a Whitney Houston music fan per say, I have admired her amazing and formidable vocal talent as much as anyone else who has ever heard her sing. 

If you haven’t seen the movie from which this musical is based, it is the story of a successful music icon (Rachel Marron) who receives a string of death threats from an obsessed fan leading to the hiring of a bodyguard, Frank Farmer, who is taken on by the singer and her staff with a reluctant acquiescence at first. Frank comes with some baggage, but the former secret service man is good at what he does – very good. Frank quickly takes over security detail for the star and her ten-year-old son Fletcher. As the story progresses, the threats become more and more bizarre, the danger ever-increasing.  

I agree with the choice not to write any songs for Kevin Costner's character, played with super cool Costner-esque aloofness by Judson Mills, probably because it was just too hard to try to create any material for him that could compare with the huge and much beloved hits Whitney produced on the soundtrack for the film like “Greatest Love of All”, “I Wanna Dance with Somebody”, “Run to You”, “Saving All My Love”, and “One Moment in Time”. 

Ironically, since that time Kevin Costner has become a professional singer/musician with his band Kevin Costner and Modern West, and although his band has played to audiences both large and small around the world - this is a fact many might not know. 

Yes, Judson seemed a little stiff in the role but I feel like he did his best to project a strong silent sexy type written for the subtlety of film then translated to a very large theater stage. There were a lot of pregnant pauses in his speech, but I think the writers could have added more humor and dialogue to his role as Frank Farmer to even out the fact that it is a musical in which he is the lead and does not get to sing. There was one really good laugh - not sure of it was intentional - but as we see Rachel slip out of the bed after her first night with Frank and he lays there still asleep, she immediately begins singing these lines from Whitney’s hit “All the Man That I Need”: 

“He fills me up 

He gives me love 

More love than I've ever seen 

He's all I've got” 

Rachel Marron played by Deborah Cox was absolutely spot on with the Whitney Houston songs thanks to her incredible voice. I really could have listened to her and Jasmin Richardson who played Rachel's little sister Nikki Marron sing Houston's hit all night, as they are both such amazing vocalists. Douglas Baldeo also does an incredible job as Rachel’s son, Fletcher. Baldeo has an amazing future ahead of him, the child actor displaying boundless vocal range and dancing his way into the hearts of theatre goers. One of the play's most touching moments centered around a beautiful rendition of "Jesus Loves Me" performed by Cox, Richardson and Baldeo when Farmer hid the family at his father's cabin in the country.

It was a fun and entertaining idea to use the film as the basis for this musical. The whole point of Frank Farmer's entrance and brief love affair in the movie was to teach Rachel that she is undervaluing her own well-being and safety by refusing to let a bodyguard change her way of life.

Frank Farmer is the sexy, masculine protective glass picture frame through which we get to admire, to actually magnify Rachel’s great beauty and talent. It is realized just how important protection is needed of a woman so gifted to her family and to the public - her adoring fans. 

Kevin Costner fought to get Houston cast in the role at a time when an interracial relationship was a much more risqué subject. Thanks to his persistence we have the classic that exists today and its current stage version.

Every time I heard Deborah Cox' wonderful voice ring out with Houston's trademark magnificence, I wished the real Whitney Houston had found a "bodyguard" to watch over her own short life. It is a tragic spin that a strong, down to earth man like Frank Farmer may have protected her and kept her from the fast track of drugs and non-stop pressure to produce hits. Whitney Houston might still be with us today.

Highly recommended as a fun date show and must see for any Whitney Houston fans. The Bodyguard is being performed at Oriental Theatre through February 12th. For more information on this exciting show, click here.