Displaying items by tag: Musical

It seems strange to me that after all my years of writing theater reviews I have never seen "Forever Plaid". I am now one of the lucky ones to have seen this marvelous production of the hit show written by Stuart Ross at Theater at The Center with this "over the top" talented cast.

"Forever Plaid" is a tribute to the early American boy bands, the quartets like The Four Freshman, The Four Seasons and The Four Aces.  During that period audiences were wowed by the smooth moves and exquisite harmonies of the singers. 

In “Forever Plaid,” we find four young men with big dreams of their own who are played to perfection - Sparky (Matt Edmonds), Leader Francis (Adam LaSalle), Smudge (Christopher Ratliff), and Jinx (Yando Lopez).

Unfortunately, on their climb to fame their young lives are cut short when they are all killed in a motor accident on their way to a gig (their car being hit by a school bus of girls on their way to see The Beatles) and end up "singing for the Angels" or in this case, for us, their 'one night only' earthly audience members. 

The talented cast come to harmonious life brilliantly in such memorable and romantic songs as “Three Coins in The Fountain”, “Moments to Remember”, “No Not Much”, “Catch A Falling Star” and “Love Is A Many Splendored Thing."

I don't want my arms around you, no, not much
I don't bless the day I found you, no, not much
I don't need you like the stars don't need the sky
I won't love you longer than the day I die
You don't please me when you squeeze me, no, not much
My heads the lightest from your very slightest touch
Baby, if you ever go, could I take it maybe so
Oh, but would I like it, no, not much

The really intriguing aspect of this entertaining production is the way it is directed by Brenda Didier who was previously a choreographer. Didier directs this fabulous foursome of voices in such a way that their every move, their every hand gesture or look, at the audience or each other is also interpreted by their bodies, hands and eyes.  The movement value that Didier adds to this show has a remarkable effect on the audience when each harmony, each word and each sentiment of these beautiful classic lyrics come back to life (pardon the pun) and demonstrate just how amazing these harmonies are and how complex musically the quartets must devote themselves to each note. It is absolutely hypnotic!  

The thing I really love about this story is that Stuart Ross allows the four young men in the show express a little bit of their sadness at having their lives and road to stardom cut short but then as they recall their memories of long days of rehearsing, carefully choosing a name and costumes, early gigs gone wrong and one performance for a real superstar at the time, they realize that they really did achieve something with their short semi-professional careers - something wonderful they would have missed if they had never tried. It is interesting and still meaningful to performers today who may perform their whole lives and never achieve fame or stardom that a chance encounter with one true celebrity star, ends up being the crown jewel in their memory bank of validation as singers.

Perry Como is passing through their town (by chance or destiny?) on the night of one their gigs and Sparky, played with incredible vocal range and perfect comic timing by Edmonds, steals a portion of Como's broken-down vehicle so that he can invite Perry Como to their gig that night. They sing "Catch a Falling Star" in honor of Perry Como and Perry is so impressed he gives them his "golden" monogrammed cardigan as a parting gift - which the four treasure and enshrine literally forever! 

Catch a falling star and put it in your pocket
Never let it fade away
Catch a falling star and put it in your pocket
Save it for a rainy day
For love may come and tap you on the shoulder some starless night
Just in case you feel you want to hold her
You'll have a pocketful of starlight

Edmonds, LaSalle, Ratliff and Lopez light up the stage as the plaid-obsessed Forever Plaid quartet with their impressive harmonies and a wealth of well-executed humor. The foursome performs in front of a three-piece band, really putting all the pieces in place for an all-around entertaining show.

I highly recommend this funny and cheerful gem of a show for anyone who enjoys hearing superbly delivered classic songs and appreciates well-timed humor. Didier's choreography brings fresh life to each classic and perfectly showcases in new detail the amazingly talented quartet assembled for this show. 

“Forever Plaid” is being performed at Theater at the Center in Munster, Indiana through June 3rd. To purchase the revue’s very reasonable tickets at $42-$46 or to find out more show information visit www.theateratthecenter.com.

It’s been three days since seeing Jesus Christ Superstar at Lyric Opera’s Civic Center and I still find myself going from character to character in the kitchen, in the car, while I’m working, while doing chores around the house and, moments ago, in the elevator. I may not be able to hit the brassy baritone notes sang by Cavin Cornwall as Caiaphas (or any of the character’s notes for that matter) but I give it my best shot because it’s just one of those shows – the songs stick – as they should. After all, we are talking about what many consider Andrew Lloyd Weber’s greatest work and perhaps one of the most masterful musicals of our time. We are talking about a musical that does not have a single weak number.

Having seen several variations of Jesus Christ Superstar from it’s very early runs in the 1970’s with Ted Neeley, many as he aged (the last while in his mid-sixties), and with a handful with others in the role of Jesus, Lyric Opera’s stage adaptation stays true to form – and then some. Cast members donned in hoods spread out across the main floor of the theatre before running to the stage during the opening overture. The set and costumes take us to a somewhat post-apocalyptic era, and though unnecessary as the musical is ever so effective taking place in biblical times, we still get the point.

With clever and ever-so-fitting lyrics by Tim Rice and an unbeatable soundtrack by Lloyd Weber, Jesus Christ Superstar takes us through Jesus’ rise in popularity as the promised messiah for his people over his last days. At the same time the pharisees show alarm and fear as Jesus is as a threat to their teachings – a threat that must be destroyed. While taking us through the last supper and eventually the crucifixion, the musical closely examines the love/hate relationship between Jesus and Judas, and the inner conflicts had by the latter. We also get a look at Rice and Weber’s perception of Mary Magdalene’s bond with Jesus, as she takes on a motherly approach in “Everything’s Alright” and that of almost a confused lover in “I Don’t Know How to Love Him”.

Jo Lampert as Mary Magdalene soothes Jesus (Heath Saunders)

Over eighty artists take the stage to perform with the thirty-seven musicians strategically placed in plain view on the set. The talent in this production is nothing short of spectacular, the choreography original and fun, particularly in that of the pharisees in the number “This Jesus Must Die,” adding a unique element of menace. The standouts in this show are many. Ryan Shaw delivers big as Judas holding true to the role’s intention immediately impressing from his opening number “Heaven on Their Minds” while Jo Lampert as Mary Magdalene shows great vocal command as she goes from gentle and soothing to prevailing power.

Ted Neeley who portrayed Jesus in the 1973 film, touring the role prior and still doing so to this day, along with Deep Purple’s Ian Gillan who was the voice of Jesus on the original album recording, set a precedent that, if not met, can lead to disappointment by the production’s most loyal fans. Gillan and Neeley set the bar high. The two were so successful in adding a rock and roll element to Jesus - screams and all - so that many in the role to follow were doomed to fail. This is not the case in Lyric’s current production. Heath Saunders exemplifies what the Jesus Christ Superstar loyal want to see in the role of Jesus. Diehards of the production call for a rock and roll Jesus and Saunders gives them just that. While stunning the crowd with his wide vocal range and hitting the highs where we’ve come to expect the highs, Saunders also gives us a Jesus who is sensitive, caring and embodies that of a teacher.

After tearing it up as Judas in Paramount’s 2017 production of Jesus Christ Superstar and taking on an ensemble role in the recent NBC televised special, Mikal Kilgore returns to the classic musical, this time as Simon Zealotes. Kilgore again puts forth an untouched performance, only leaving the audience with the regret his lead numbers are limited. Michael Cunio as Pilate Shaun Fleming as Herod are equally impressive as they pass the buck on who will be responsible for Jesus punishment that is called for by the people. Rounding out the sensational cast are Joseph Anthony Byrd as Annas and Cavin Cornwall as Caiaphas whose performances as the sinister pharisees are also on point.

Shaun Fleming as Herod

Jesus Christ Superstar is one of the great modern-day musicals and Lyric Opera of Chicago is one of Chicago’s premiere venues. Their pairing makes a lot of sense. Lyric spares no expenses presenting an all-around magnificent cast, a collection of Chicago’s finest musicians, superb direction and choreography and a set and lighting design that includes a 37-foot cross illuminated with 101 lights and seven full-sized trees that stand in the background overlooking all the action.

Categorically recommended.

Jesus Christ Superstar is being performed at Lyric Opera of Chicago through May 20th. For tickets and/or more show information, visit www.lyricopera.org.

I am constantly amazed as the way directors use the intimate, theater in the round, at The Marriott Lincolnshire Theatre and this exuberant production of “Oklahoma!” celebrating the 75th Anniversary of the classic Rogers and Hammerstein musical is no exception. 

As soon as the dancing begins, this production shows that indeed the entire show of “Oklahoma!” with magnificent, definitive songs like "Oh what a Beautiful Morning" and "People Will say We're in Love,” was meant to be a ballet. This especially rings true during the memorable ballet sequence at the end of Act I which featured tow amazing dancers Benita Bünger (Dream Laurey), Lucas Segovia (Dream Curly) and Alejandro Fonseca (Dream Jud).

It’s farmers against cowboys in this late 19th century musical adventure that follows two love stories. Curly McClain, a cowboy, wants desperately for Laurey Williams to love him, but her stubbornness has her taking her family’s farmhand, Jud Fry, to the big dance instead – and Jud has some serious issues. Laurey’s Aunt Eller can’t understand why her niece is so reluctant to give Curly a chance and has big reservations when Jud gets involved. At the same time, cowboy Will Parker is in love with Ado Annie Carnes and will do whatever it takes to win her over. However, Ado Annie also has eyes for a Persian peddler, Ali Hakim.

The classic western takes a few turns and includes some bumps in the road for the main characters while unfolding into the direction of what becomes a most memorable ending. “Oklahoma!” is an entertaining story that has a bit of everything – jealousy, love, romance, humor and heroes. But in this stage adaptation, it’s the fantastic dance numbers that impress the most.

The dance sequences so beautifully choreographed by Alex Sanchez (and there are many by the entire cast) are some of the best and most exciting dance numbers I've seen in recent musicals. Each number make use of every aisle and every inch of the stage from opening number to rousing finale.

Brandon Springman is mesmerizing in the lead role as Curly while Jennie Sophia plays his romantic interest, Laurey, with great intelligence and romance. Both have really wonderful voices that are accompanied by thoughtful, realistic acting choices that make you fall in love with this couple and understand why they both let their headstrong pride get in the way of what is obvious to everyone else in town as a love affair that is meant to be. Shea Coffman is very strong as Jud Fry and can be flat out frightening at times while Michelle Lauto really gets to show off her gifted voice as Ado Annie. The talent goes on and on as Evan Tyrone Martin is very funny and likeable as Ali Hakim and Aaron Umsted steals several scenes with his electrifying dancing prowess as Will Parker.

There is also a modern-day relevance that pops out at the audience when Laurey complains to her Aunt Eller (played with great wry humor by Susan Moniz) that Jud, the moody, porn-obsessed, farmhand is staring her down at breakfast every day and generally scaring her when her aunt replies that she is being too sensitive and should ignore him. But Judd's behavior is pure sexual harassment by a man with mental health issues who is not only capable of violence and in the cathartic last scene, acts out with both sexual violence against Laurie and a murder attempt towards her beau Curly.

The entire cast is full of rich singing voices and the sing-along at the end of the show to the title song "Oklahoma!" really sums up the lively spirit of this beautifully sung, acted, and danced production of a classic. 

I highly recommend this fast paced but satisfying and exciting production for all members of your family to experience the magic and wonder of one of Rodgers and Hammerstein’s great American works. 

“Oklahoma!” runs through June 10th at the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL 60069. Tickets are available at marriotttheatre.com or 847-634-0200.

If you are a passionate fan of the original "Phantom of the Opera" musical, its sequel "Love Never Dies" will surely peak your curiosity and is a 'must see'.

The continuation to one of the greatest love stories of our time takes place in 1907, ten years later after the Paris Opera House fire. The Phantom fled at that time, escaping tragedy, but not before releasing Christine and Raoul, so moved by his love for her. Christine now resurfaces after receiving an invitation to travel from Paris to make her singing debut in New York and the Phantom is determined to win back her love. After so many years have gone by, we finally see a life changing reunion between the Phantom, Christine and other ghosts from the past.

Magnificently directed by Simon Phillips, the stunning musical includes a new set and costume designs by Gabriela Tylesova, choreography by 2011 Astaire Awards winner Graeme Murphy, lighting design by Nick Schlieper and sound design by Mick Potter. Together they produce what can be described no less than an enchanting theatre experience that is as haunting as it is seductive.

A handful of characters return from the first musical, including the Phantom portrayed with fierceness by Cardar Thor Cortes who was born in Iceland and is making his debut in the United States in this performance. Cardar Thor Cortes comes directly off the heels of a successful run of Love Never Dies in Hamburg, Germany. Christine is beautifully acted by Chicago native Meghan Picerno. The music and lyrics created by Andrew-Lloyd-Webber and Glenn Slater seem personally written for these two amazing singers who held the audience in awe.  Other return characters were Raoul (Sean Thompson), Madame Giry (Karen Mason) and Meg Giry (Mary Patterson).

The musical number impress one after another and are in many ways as powerful than those in the original “Phantom”. "Once Upon Another Time" will touch your heart while offering meaning to the story line of this play. Meghan Picerno, (Christine) and Gardar Cortes mesmerize the audience singing beautifully together, their words enhanced by every powerful note. "Love Never Dies", without question reveals Meghan's emotionally charged and extremely talented voice.  

Applause, applause and more applause...

“I have the great joy of being able to say that I think this production is probably the finest one I could ever, ever hope for,” said Andrew Lloyd Webber just minutes after seeing the musical’s first run through.

One of the play’s nice surprises was 13-year-old Casey Lyons native of Lake Forest who was a joy to watch sing and perform. Casey is a natural and has a wonderful gift of song.  

The Coney Island atmosphere freed the stage up to every kind of performer singing and dancing together to present a mystical, delightful and creative wonderland. The fluid stage changes were excellently done and the orchestra gets an A-plus in every way.

Not to give the plot away, I can say the story line is unique, a little unexpected, and keeps you wondering until the very end. "Love Never Dies" is well worth attending.  

“Love Never Dies” has a running time of two hours and twenty-five minutes with one intermission and is being performed at Cadillac Palace Theatre through March 4th. For tickets and/or more show information, visit www.BroadwayInChicago.com.

Marriott Theatre’s Ragtime might just be one of the best adaptations to make its way through the Greater Chicago Area - ever. E.L. Dotorow wrote the novel in 1975, which has stormed theatre stages since 1996, snagging thirteen Tony Awards in 1996.

With lyrics by Lynn Ahrens, music by Stephen Flaherty and a book by Terrence McNally, the highly-acclaimed musical follows three very dissimilar families beginning in 1906 New York. One family is a white, advantaged and wealthy, one consists of an immigrant Jewish father and his young daughter while the other is a young African-American couple following the birth of their new child. Throughout the story, the families become intertwined with each other as the story paints a vivid picture of privilege versus the struggles of those less fortunate. Ragtime is a moving story of hard times, prejudices and the will to survive by those who have been dealt a much tougher hand in life and also the understanding – and lack of understanding – that is had by those more prosperous. It is also the ultimate story of determination.

Beautifully directed by Nick Bowling, the story includes several colorful characters that really make a strong impact such as Tateh, the Jewish immigrant from Latvia, played impeccably with much intensity by Benjamin Magnusun. Tateh, a portrait artist, is inspired to succeed in America after watching the great Harry Houdini (Alexander Aguilar), another immigrant, make his rise to fame. Marriott Theatre veteran and actor/singer extraordinaire Nathanial Stampley once again rises to the challenge this time as Colehouse Walker Jr. the show’s champion and pioneer of “ragtime” piano-driven music. Katherine Thomas compliments Stampley well as Walker’s fiancé, Sarah, her role as powerful as any in the story that holds such a political relevance in today’s current state.

Ragtime was a long time coming for Marriott and this staging is well-worth the wait. Bowling decides to change the play’s ending, a decision for audience members to take home and ponder.

Chicago favorites Larry Adams and James Earl Jones II this time find themselves leading a highly gifted ensemble, adding even more punch to this influential musical. Brilliant performances run rampant in this production with riveting work from Jonathan Butler-Duplessis as Booker T. Washington and Kirsten Hodgens, known only as “Sarah’s Friend” in the program. Hodgens has show-stopping vocals that are certainly highlighted in this production.

With a running time of two hours and forty minutes, the production’s high engagement level from beginning to end without lull is testament to its quality. For those who have seen the musical before, just seeing it from another perspective, that of its in-the-round staging, is entertaining in itself. With spot on costume and set design, moving musical numbers and tremendous acting and vocal efforts, Marriott’s Ragtime should be in line for a Jeff Award nomination.

Highly recommended - a perfect piece of musical theatre.

Ragtime is being performed at Marriott Theatre through March 18th. For tickets and/or more show information visit www.marriotttheatre.com.

Having seen the Donny Osmond and even the Patrick Cassidy productions of Andrew Lloyd Webber's colorful telling of the Joseph story years ago, I remember really enjoying them in a children's theater sort of way. The characters are colorful, the story has a good lesson and the songs catchy. Upon seeing Drury Lane’s spectacular re-imagining of Joseph and the Amazing Technicolor Dreamcoat, I couldn't even remember what the original story line was about. Which turns out to be a good thing! I got to relive the adventure all over again, and this time with several big changes to the traditional production.
 
The pyramids of Egypt are replaced with the pyramid of The Luxor Hotel in Las Vegas and much of the "dreamer’s dreams” dreamt by Joseph are played out with much talent right there in his decidedly low luxury level Luxor hotel room, complete with an overlooking view of The Strip.
 
The narrator has been replaced with the amazing singular talent of Christina Bianco, a world renown singer and impersonator of our generations greatest singers. Bianco blows the audience away with technically difficult and spot on - sometimes hilarious - impersonations of Britney Spears, Cher, Liza Minelli, Shania Twain, Bernadette Peters and even Edith Piaf! Having a woman narrator with such brilliant singing skills that she becomes literally "everywoman" is a very refreshing and funny delight throughout the show. 
 
Directed with ballsy style by Alan Souza with choreography by Grady M. Bowman, the dance numbers, which include Vegas style showgirls and Joseph’s brothers who double as "showgirls in drag" at one point, are absolutely fantastic! 
 
The effect of the many complicated and energetic dance numbers all dressed up in Ryan Park’s modern silk and Vegas-style costumes and Claire Moore's deliciously designed wigs is one of bewildering entertainment with almost too many great dancers to take in all at once. 
 
In another break from the traditional production, Elvis Presley was also replaced in this show with Elton John - perhaps a contemporary nod to the LGBTQ community. 
 
Evan Alexander Smith who plays Joseph as a nerdy, confused young man fell short for me. Although Smith has a great singing voice in general, his lackluster, befuddled portrayal of Joseph left me wanting someone with more star quality at any age in that role. Unfortunately for Smith, it would probably take someone with Donny Osmond's level of sex appeal and onstage charisma to have been be able to play the essential lead role in a way that wasn't dwarfed so completely by Christine Bianco's many talents. 
 
The musical is based on the Biblical story in Genesis of Joseph’s who receives nothing but jealously from his eleven brothers after their father, Jacob, gifts him with a colorful coat. Beaten and left for dead by his own siblings, Joseph is kidnapped up by slave traders and taken to Egypt. It is after his ability to translate dreams reaches the pharaoh, that his life takes an unexpected turn.
 
This production is absolutely nothing like the "Technicolor Dream Coat" Chicagoan's have been taking their kids to for decades, and at times is a bit confusing while following the quickly moving lyrics as they are now delivered in such a unique way especially by Bianco. But as an adult wanting to see a fresh, fun and sexy version of the Joseph story, I was really blown away by the blast of color, powerful sound and spectacle delivered by the entire cast and design team. 
 
Joseph and the Amazing Technicolor Dreamcoat, currently being performed at Drury Lane Theatre in Oakbrook through March 25th, is a lively musical that dazzles visually and includes all around excellent performances from its gifted cast. For more show information visit www.DruryLaneTheatre.com.

Once upon a winter’s glow,

I did venture to see a show,

A show so dark and oddly brooding, filled with misery and woe.

A new musical did appear,

At the Edge Theater it did premiere,

Nevermore:

The imaginary life and death of Edgar Allen Poe.

Upon the stage seven players did regale,

A musical rendition of the troubled poet’s tale,

With songs on pointe in pitch and scale,

Depicting Poe’s tragic life,

Filled with sadness, death, drunkenness, and strife

His countenance and will, through hardships made frail.

The cast of players did their thing,

Though some fell short when they tried to sing,

While others, like Poe! What a talent was he! whose heart and soul he did bring,

To the characters of a man both fascinating and strange,

He conveyed happiness, sadness, and showed a great range,

To the moon- which he reached- he did swing.

The music was ominous, and lyrics were dark,

The storyline has substance and hit the mark,

And covered all aspects of a story, that was anything but stark.

This well written piece was an enjoyable jaunt,

On a mystery of death that continues to haunt,

Their endeavor was clearly not just a lark.

Against many a theater I am willing to measure,

This piece and its cast did bring the audience pleasure,

It stands on its own and with some casting changes, could make a piece Chicago could treasure.

Poe is a topic du jour, many plays and stories are being written,

Of the man and his Raven whom the world still is smitten,

You’d do well to see this young play at your leisure.

Go to the theater I do implore!

To see this musical with an artistic score,

And be dazzled and delighted, by a life immortalized in lore.

This is a play I think you must see,

To the Edge Theater you must flee,

Before this play is…nevermore!

Nevermore- The Imaginary Life and Mysterious Death of Edgar Allan Poe! Runs through January 28^th at

The Edge Theater

5451 N Broadway, Chicago

http://nevermorechicago.brownpapertickets.com

On Friday, January 19, in honor of Edgar Allan Poe's birthday, audience members are invited to join us after the show for a complementary Prosecco toast to the great author and poet!

Once upon a winter’s glow,

I did venture to see a show,

A show so dark and oddly brooding, filled with misery and woe.

A new musical did appear,

At the Edge Theater it did premiere,

Nevermore:

The imaginary life and death of Edgar Allen Poe.

Upon the stage seven players did regale,

A musical rendition of the troubled poet’s tale,

With songs on pointe in pitch and scale,

Depicting Poe’s tragic life,

Filled with sadness, death, drunkenness, and strife

His countenance and will, through hardships made frail.

The cast of players did their thing,

Though some fell short when they tried to sing,

While others, like Poe! What a talent was he! whose heart and soul he did bring,

To the characters of a man both fascinating and strange,

He conveyed happiness, sadness, and showed a great range,

To the moon- which he reached- he did swing.

The music was ominous, and lyrics were dark,

The storyline has substance and hit the mark,

And covered all aspects of a story, that was anything but stark.

This well written piece was an enjoyable jaunt,

On a mystery of death that continues to haunt,

Their endeavor was clearly not just a lark.

Against many a theater I am willing to measure,

This piece and its cast did bring the audience pleasure,

It stands on its own and with some casting changes, could make a piece Chicago could treasure.

Poe is a topic du jour, many plays and stories are being written,

Of the man and his Raven whom the world still is smitten,

You’d do well to see this young play at your leisure.

Go to the theater I do implore!

To see this musical with an artistic score,

And be dazzled and delighted, by a life immortalized in lore.

This is a play I think you must see,

To the Edge Theater you must flee,

Before this play is…nevermore!

Nevermore- The Imaginary Life and Mysterious Death of Edgar Allan Poe! Runs through January 28^th at

The Edge Theater

5451 N Broadway, Chicago

http://nevermorechicago.brownpapertickets.com

On Friday, January 19, in honor of Edgar Allan Poe's birthday, audience members are invited to join us after the show for a complementary Prosecco toast to the great author and poet!

While I’d yet to see Beautiful: The Carole King Musical since it premiered to much acclaim (and a U.S. tour) a couple years ago, I entered the Cadillac Palace Theatre for its latest Chicago debut a lifelong Carole King fanboy. I knew her songs. I knew her story. But for a couple hours on Wednesday night, the cast of this latest touring production made me feel like I knew her.

But first, those songs. The audience, young and old, knew them all. The older ones, the ones who’d been there the first time around, giggled with nostalgia. And the rest of us – who know them from parents, from oldies radio, from YouTube, from simply being alive – were every bit as thrilled. From John Michael Dias’ mugging Neil Sedaka singing “Oh Carol” on national TV to his former high school flame, Carole Klein, to the ensemble’s medley of Brill Building tunes love-potioning and splish-splashing and yakkity-yakking, we were all Boomer kids taken back to a not-simpler time.

The real standouts of this jukebox time machine were two vocal quartets. Playing the parts of The Shirelles, Little Eva and her backing singers, and Janelle Woods and her own group, McKynleigh Alden Abraham, Traci Elaine Lee, Marla Louissaint, and Alexis Tidwell were magic as they brought classic takes on King’s “Will You Love Me Tomorrow” and “One Fine Day.” The dresses, the elegant moves, the wedding chapel harmonies, and those songs. Wow. They were only equaled by their male counterparts – Josh Dawson, Jay McKenzie, Avery Smith, and Kristopher Stanley Ward – whose coiffed hairdos, satin suits, and smooth moves as The Drifters made it look so easy as they doo-wopped and stepped to “Some Kind of Wonderful” and “Up on the Roof.” But Ms. King’s songs weren’t the only ones on display. While The Drifters did a nifty walk down Weil and Mann’s “On Broadway,” the rival songwriting duo’s “You’ve Lost That Lovin’ Feeling” was retaken from Tom Cruise’s boozy Top Gun barroom ballad by Matt Faucher and Dias again as The Righteous Brothers. Faucher’s baritone filled the Cadillac, and Dias’ high harmonies brought it home. Again, wow. Wish I’d been there the first time around, but this cast showed off their chops while paying quite a tribute to the classic songs and their songwriters who the story’s about.

And about that story. Again, as a fan, I knew the outline: NYC kids slave away in a Times Square hit-making sweatshop, soundtrack a generation, and one of them makes it big herself later on. But the main cast fleshed out the story’s characters. They took them from characters to people. James Clow’s gum-chewing, contract-signing Don Kushner was intimidating but encouraging. Sarah Goecke’s witty, Cole-Porter-wannabe wordsmith, Cynthia Weil, was a woman ahead of her time. Jacob Heimer’s neurotic lady’s man, Barry Mann, made you root for him. And Andrew Brewer’s smoldering but sensitive Gerry Goffin made you swoon, even as you knew the dirty dog was sneaking around on his Carole.

And Carole. Oh, Carole. As Neil Sedaka sang, “there will never be another.” And throughout the show, lead Sarah Bockel not only proved Sedaka right, giving us Carole King’s look and playing and voice, she gave us Carole Klein, the person. Many talented performers could probably approximate King’s hair or her vocals. But Bockel went beyond that, giving us the perky and precocious 16-year-old writing those hits and falling for that hunk. She gave us the broken but devoted young mother finding out not just who she’s married to – Bockel and Brewer’s chemistry was very sweet and seemed very real – but who she herself is. And she gave us that self, finally confident to write her own words, to tell her own story, to sing it loud, for a crowd, for us. And that story, of a woman claiming her soul from the lost and found and using it to give voice to not just a generation, but many generations to come, was what wowed the Cadillac’s crowd the most. The voices will make you applaud. The songs will make you nostalgic. But the story this cast and their show tell of this natural woman, this national treasure, will make you feel. It made me feel.

For more show information visit www.broadwayinchicago.com.

The classic film It’s A Wonderful Life, based on the story The Greatest Gift, is brought to life by Theatre At The Center just in time for the holidays with their latest presentation A Wonderful Life: The Musical. In TATC’s adaptation, the story is intertwined with many big song and dance numbers, one of which stands out is the high school dance scene that includes an enlivened choreographed Charleston competition.

The story takes place in Bedford Falls, where George is met with a series of challenges while a series of incidents keeps him in the quaint town where he reluctantly takes over his father’s building and loans business rather than exploring the world and going to college to become an architect. As with any good story, we have a nemesis, in this case the nefarious Mr. Potter who claims ownership to the town’s largest bank where he can hold residents to high interest and rental rates in his slums. George aims to give the townsfolk a better option. Why should people have to wait until they are old and tired to have a home to raise their family, he asks.

George finds love with his longtime crush Mary, eventually building a family of his own. George might be scrapping by, but he has a loving family and is a source of easy loans for Bedford residents, which enables them to purchase homes with little or no collateral – many deals based on trust rather than the stringent criteria that Potter would require. Thus, he becomes a thorn in Potter’s side.
When the bank calls a loan (on Christmas Eve?) on the building and loans and his Uncle Billy misplaces a hefty deposit, his world quickly comes crashing down. Fraud, imprisonment or worse, he fears. Crawling to Potter, he is denied a loan to bail himself out. It is when he realizes that he is worth more dead than alive, only $500 in equity on a $15,000 life insurance policy, he thinks the unthinkable and (in this adaptation) heads for the train tracks to end it all. Of course, Clarence, his guardian angel, has other plans.

It is when Clarence saves him and George states he wishes he was never born at all, that such a wish is granted. In doing so, George sees the positive affects he has on so very many people and realizes what a “wonderful life” he really has, after all.

David Sajewich plays George Bailey in this classic tale of hope, goodwill and the human spirit. Sajawich, who was last seen at TATC in All Shook Up, does an admirable job as Bailey. It takes a bit of time to warm up to Sajawich as Bailey, though he really cements himself into the role during the scene at building and loans after his father passes and the board is looking for solutions and new leadership. That’s when we really get a feel for George Bailey and his caring nature for the townspeople and animosity towards Potter.

Mary Hatch (soon to be Mary Bailey) is wonderfully played by Allison Sill who so beautifully captures the heart of gold spirit in the character also wowing the audience on many occasions with her accomplished vocal range. James Harms as the evil Henry Potter really gives the second act a powerful punch as his character becomes more and more sinister, while David Perkovich is excellently cast as George’s lovable guardian angel, Clarence. As most every TATC production, we are offered a strong ensemble that can sing and dance with the best of them.

The set, though minimal, is creatively worked to provide (with a bit of audience imagination) the several different locations for the story’s many scenes. Gordon Schmidt lights up the stage with his dazzling choreography, perhaps one of the show’s brightest contributions.

A Wonderful Life: The Musical is the perfect holiday treat whether a fan of the classic film or not. There are plenty of moments in this production that capture the film’s magic and several flashes of wonderment that are created with its own musical numbers.

A Wonderful Life: The Musical is being performed at Theatre at the Center in Munster, IN. For more show information visit www.TheatreAtTheCenter.com.