Displaying items by tag: Musical

As I entered the Cadillac Palace Theatre – originally the Orpheum Circuit’s lavish vaudeville flagship before keeping up with the times to become a golden age movie palace – the simple, classy screen that hung over the stage gave me hope for the evening’s entertainment. There was the show’s title and logo, red and white on a bright blue backing, all nostalgia, all sheen, all promise of a combination of the silver screen, of classic composition, of live theatrical talent. I could hardly wait for the screen to rise and the show to start.

But first, in full disclosure, I’ve never watched the movie straight through. Sure, I’ve seen the whole thing in fits and starts and bits and pieces through the years (married, as I am, to one of its biggest fangirls). But I’m more of a fan of the rock and rollers – the Little Richards, the Orbisons, the Chucks and Jerry Lees and Buddies with something a little randier and a little rowdier and a little more real – who came along and did away with the post-war schmaltz. What I mean is, while I appreciate, no, adore, earlier Hollywood musicals like The Wizard of Oz or even Berlin’s Easter Parade, as well as later ones like The Music Man, I have no real sentimental attachment to Bing and Rosemary. I figured I’d be an objective audience, a fresh set of eyes and ears for this production.

The show began and these eyes and ears weren’t impressed. The sets were bright and looked the part – the scene with the song “Snow” on a train car was beautiful, a real mid-century-modern knockout – but they weren’t the 1950's real thing. The actors, too, were talented and pleasant as they played their parts, but they weren’t Bing or Rosemary or Danny or Vera. Nobody could be.

So, as the first act progressed, I remained unimpressed. The story (and the music, and the sets, and the cast) were fine, but the show needed some charisma, it needed some pizazz, it needed something.

Where that something did come up was when the show added tunes by Berlin that weren’t in the movie. These songs hadn’t been staked out by the film’s icons, and the current production’s cast wasn’t forced to approximate the ideal they’d set. They were fresher. They gave this cast room to show their talents, to show themselves, and not just takes on someone else. An example was “Falling Out of Love Can Be Fun.” Throughout the night, the female lead, Kerry Conte, had Rosemary Clooney’s shoes to fill, a task I did not envy. But during this number, she fit right into an Andrews-esque trio, her vocals polished, her moves authentic. The lead singer in said number, Karen Ziemba’s Martha, stood out not just here, but in her own featured piece earlier that also strayed from the film and added to the show. Other standouts included: young Makayla Joy Connolly, who had a fine feature of her own; Kristyn Pope, who lit up the stage as recurring Rita and part of the ensemble; and Conrad John Schuck, whose General Waverly/Innkeeper Hank was equal parts Patton and grandpa.

And as I said, while the first act dragged, the second act moved at a much better pace, better utilized the cast, and ended the night with some holiday cheer (spoiler alert: the show is called White Christmas). So if it’s an exact reproduction of the Technicolor glow and the old-microphone glisten of the film you’re after, stay in and watch it on TV. But if you’re just looking for a feel-good family jumpstart to the holiday season, then this might be the show to see.

White Christmas is being performed at Cadillac Palace Theatre through December 3^rd. For more show information visit www.broadwayinchicago.com.

In reviewing Jimmy Buffett’s new musical Escape to Margaritaville I was seated in the last row of the Oriental Theatre but since the row was reserved and nearly empty, I settled in for a nice relaxing show with no one coughing on me or knocking my elbow off the armrest. The show began and a few minutes later two smiling, enthusiastic, knee tapping men came in and sat next to me on the aisle.
They were whispering excitedly back and forth and one of the men, who was small-framed with glasses, took out his cellphone and began typing into it every few minutes.

They seemed like such excited fans, as the phone activity continued. I didn't want to say anything but finally buckled and leaned over and gently brushed his hand, smiling like "Hey, that's a no- no." But he just smiled at me and moments later kept typing. After another ten minutes or so, I again leaned over and said, "Darlin', I know you're super excited to be here (and I pointed to my Press Kit), but I'm trying to review this show." The bouncy, Larry David lookalike laughed and said, "Darlin', I’m Jimmy Buffett!" I didn’t recognize him in the dark! 

We laughed together and naturally I told Jimmy to take as many notes as he needed! And thus began a wonderful night of celebrating this Broadway bound production based on Jimmy Buffett's life. 
The script written by Greg Garcia and Mike O’Malley (with book also by Emmy Award winner Greg Garcia) tells a classic story of romance between Tully, a handsome singer/songwriter living the island life, and drifting from one cute tourist to another without falling in love. Tully's world is changed however when a beautiful, intelligent, but over worked, scientist named Rachel visits the resort with her best friend Tammy who is about to be married - to the wrong man. On this island the word “work” is identified as a " dirty word" and Rachel is warned gleefully by Tully that if she says it too often her mouth will be "rinsed out with tequila!" 

The book includes original music and at least twenty-seven of Buffett's classic hits including "Come Monday", "Volcano", "Cheeseburger in Paradise", and a hilarious PG-rated version of "Let's Get Drunk (And Screw)”. 

The two youthful leads, Tully played by Paul Alexander Nolan - and Rachel (Alison Luff), have very nice chemistry, rich voices and give the rowdy, drunken fun of the play a real love story to ground it and make you care about the characters despite the constant joking around. 

Parrotheads will love the free living, take it easy on yourself moral of the story, which simply put echoes Buffett's own successful take on "living life in the moment to the fullest, and loving the one you are with.

I really love the way Rachel's character is written as both very intelligent and nature loving. The entire audience loved the way her best friend Tammy is encouraged to go ahead and EAT "the cheeseburger she desires whether she fits into her wedding dress or not and then has her literally flying across the stage (Peter Pan style) when she frees herself from the critical and unappreciative man she was about to marry before being rescued by Tully's funny, free living, best friend. 

Walt Spangler created a beautiful sparkling set full of water and sunny blue skies. The only thing I wanted to see more of in this wonderful, constantly changing island paradise set was palm trees and green. But this already winter-weary Chicago audience was delighted by the many hues of clear blue water, colorfully lit Tiki Huts and cloudless skies, nonetheless. 

The lesser known, but deeply touching Buffett songs “We are the People Our Parents Warned Us About”, “Love and Luck”, “He Went to Paris” and “License to Chill” were used to nice effect to deepen and round out the overall feelgood, life's a party feeling of the show, especially when the audience realizes even the seemingly shallow Tully understands there is something very important missing from his idyllic island lifestyle when he meets Rachel and finally feels true love for the first time. 

Opening night attendees were treated to a real Buffett experience when Jimmy joined the cast for the show’s final few numbers.

After the show I got to speak with Buffett and his fans a little more in depth at the Maragaritaville-themed after party. We laughed again at my own "work, work, work" uptightness even as Jimmy apologized profusely for having to take notes on his phone during the show and he asked me if I noticed his mature adult fans gleefully swaying and dancing in their seats. 

I DID come to the realization after talking with Parrotheads from twenty to eighty-years-old at the party, that although I was born and raised in Miami, Florida, I had no idea how vast and successful the Jimmy Buffett brand has become and stayed over past decades. I really got a sense of how happily devoted his fans are to him as a musical artist and his never give up - do it yourself lifestyle guru, if you will.  

I know the play needs to move along and stay fictional to a degree, but I would have loved to have seen a few scenes about Buffett's real-life tales of trying and failing at a music career in NY and Los Angeles. Those years of being rejected while trying to find his niche which caused him to say, "Screw You" to record execs and move his whole life to the "the farthest key in Florida", finally building his own internationally loved and recognized brand in true maverick style with his own fans from Key West. These true tales of overcoming small-minded criticisms and his so-called failures along the way are so inspirational I wish they had been addressed in this production. 

Since there is still time to tweak this fun-tastic production before it moves on to Broadway and on tour, I have to say I agree with other reviewers who were put off by the dance numbers by the dead insurance salespeople, the "LSD flashbacks" dreamt up by Tully's sidekick during stressful moments. The choreography in these dance numbers was great but the creepy, scary, gray and white ash covered insurance salespeople (whom he was told died in a volcanic eruption on the island) would have been better spent on dance numbers for the main cast members or more of the bikini and swimsuit clad vacationers to keep the fun, psychedelic friendly mood coming without interruption. 

Loved it. I highly recommend this fun loving, musically delightful production to remind everyone to SLOW DOWN, and stop towing the line at "work, work, work!" thereby letting their dreams of love and romance die a slow, painful death. Buffett's philosophy of living and acting spontaneously reminds the audience in a wonderful way that life changing chances at love (like the one when he met his wife) come and go which might never come again. 

Once I realized I was seated next to Jimmy Buffett himself during the show, I couldn't help noticing the touching way he sang along quietly to himself with his own music, these are his babies after all, and the foundation of a hugely successful $500 million dollar plus industry of restaurants, vacation cruises and music, etc., that his devoutly loyal fans, the Parrotheads, have enjoyed for thirty years. As I watched Jimmy Buffett's fans dance around their "leader in paradise" at the after party and the screams of laughter and joy during the show as beach balls came raining down on them from above, I became certain that they will continue to honor Buffet's legacy and frequent his now very real "Margaritaville" for the rest of their lives. 

Escape to Margaritaville is being performed at Oriental Theatre through December 2nd. For more show information visit www.broadwayinchicago.com.

It only takes a few moments into Lizzie’s opening number that audience members realize they are in for quite the unusual theatre experience. Haunting, yet beautiful, the creepiness quickly sets in as Lizzie’s four Victorian-clad characters solemnly sing the tale of the infamous Lizzie Borden who was accused of butchering her father and stepmother in August of 1892.

Lizzie Borden took an axe
And gave her mother forty whacks.
When she saw what she had done,
She gave her father forty-one.

Based on true accounts of the double murder that took place in Fall River, Massachusetts, the grim tale reimagined by Steven Cheslik-deMeyer and Tim Maner is told by Lizzie, her sister Emma, her neighbor Alice and the family’s maid, Bridget. Presented by Firebrand Theatre, whose claim is that of being the first feminist musical theatre company, Lizzie is a detailed account of the legendary crime that is one of the most talked about grisly murders in our Nation’s history.

Firebrand hits a homerun with their first ever production by delivering a deliciously enticing story that engrosses from beginning to end thanks to its strong acting performances and punchy soundtrack that is both powerful and, when called for, dreamlike.

The play offers great insight to Lizzie herself and speculates the heinous crime may have been prodded by the home’s maid while also suggesting she may have been lovers with her neighbor Alice. Liz Chidester is Lizzie Borden and dominates in the role. Chidester so well captures the essence of a girl who loses her grip on reality after years of being abused by her father and is subjected to a newly introduced stepmother who has manipulated her way into inheriting the family wealth.

Ingeniously directed by Victoria Bussert, Lizzie is stacked with commanding performances. Leah Davis fiercely takes the reigns as the mischievous housemaid Bridget, injecting well-timed humor and velvety smooth vocals that make her character a powerhouse. Camille Robinson as Emma and Jacquelyne Jones as Alice round out what makes for an excellent cast. Our four characters deliver amazing vocal performances, each as unique as the other while smartly straying from the standard Broadway-esque sounds we are used to hearing in so many big musicals. No. These women truly rock. 

Instead we get a conceptual rock concert. Hypnotic, sexy and plot-rich, Lizzie is presented by a female-fronted rock group heading a talented band that sits rear stage. As engrossing as the music is the show’s often pithy dialogue exchanges, it’s costumes and creative effects (hint - ponchos are available for those who choose to sit in the first row).

Lizzie is a fun show that has it all – murder, treachery, sex and scorching music.

It is with high recommendation that I urge theatre lovers to see the story of Lizzie Borden that is presented in the most imaginative way. If such a brilliantly inventive production such as Lizzie is an example of what Firebrand has in store for theatre goers in the future, we can only look forward to what the young theatre company will bring us next time around.

Lizzie is being performed at The Den Theatre through December 17th. For tickets and/or more show information visit www.firebrandtheatre.org.

*Now extended January 3rd-14th with Broadway's Ciara Renee joining the production.

The current production of 42nd Street at Drury Lane Theater left me breathless! With book by Michael Stewart and Mark Bramble, music by Harry Warren and lyrics by Al Dubin, the newly updated and improved 42nd Street blends different periods of dance from the sixties to the present including some of the best tap dancers (don't call them hoofers) I have seen assembled for one show. 

Telling the age-old fantasy of Broadway performers everywhere as newcomer to New York, Peggy Sawyer, gets her chance at stardom and saving the show when the star falls during rehearsals and breaks her ankle. But this version is sympathetic to both the aging star, Suzzanne Douglas as Dorothy Brock, who has worked a long time and entertained the advances of a sexist producer just to finally have her stage time. Douglas has a beautiful rich, soulful singing voice and is very beautiful in this role. 

Kimberly Immanuel as Peggy Sawyer is also seen more realistically as a starving artist who just wants a break instead of a conniving backstabber out to hurt the leading lady. She is cute and unassuming as the newcomer who really has flying feet. Immanuel does a great job staying likable in her singing and acting and then dazzles the audience with some "out of this world" tap dancing which truly pleases the ears and eyes.  

Gene Weygandt as Julian Marsh, a Broadway director with the power to make stars and break them, also turns in a lovely performance with top-notch vocals, which make the character of Marsh more concerned with the dream world of Broadway life and less scary and sexist than I have seen director portrayals in other productions. 

This spectacularly energetic, colorful and sparkly, yes sparkly, production is directed artfully by Michael Heitzman, with choreography by Jared Grimes, music direction by Roberta Duchak, scenic design by Collette Pollard, costume design by Emilio Sosa, lighting design by Mike Baldassari, sound design by Ray Nardelli, and music arrangements by Everett Bradley.

The set and lighting changes and costume design really do satisfy Chicago audiences’ need to see productions that dazzle just as much as the run on Broadway on every level and leaves the audience energized and happy to have seen this show. 

I want to name the other stars and the ensemble because every single character was fully drawn in this wonderful production with Phillip Attmore as Billy Lawler, Justin Brill as Bert Barry, Donica Lynn as Maggie Jones, Brandon Springman as Pat/Ensemble, Cedric Young as Abner Dillon, Erica Evans as Andy Lee/Ensemble, and Sierra Schnack as Annie/Ensemble. The cast also includes Bret Tuomi, Time Brickey, Lamont Brown, Tristan Bruns, Joe Capstick, Joel Chambers, Andrea Collier, Gabriela Delano, Annie Jo Ermel, Rachel Marie LaPorte, Mandy Modic, Thomas Ortiz, Allie Pizzo, Marisa Reigle, Anthony Sullivan Jr., and Davon Suttles.

Full of fun hits such as “We’re in the Money”, this is a show that doesn’t stop. One of the most memorable scenes I have ever witnessed is a highly complex, mind blowingly and highly difficult six person tap piece that eventually turns into a full cast number worthy of anything I have seen in Broadway productions or at larger theaters in downtown Chicago or New York.

I highly recommend this run of 42nd Street at The Drury Lane for an exciting, feel good, upbeat Holiday spectacle about the joy of showbiz as we used to all envision it unfolding for a young star in the making. 

42nd Street is being performed at Drury Lane Theatre in Oakbrook through January 7th. For tickets and/or more show information visit www.drurylanetheatre.com.

Here comes the feel-good show that both adults and kids will enjoy. Based on the 2003 movie by the same name starring Jack Black, School of Rock-The Musical is featuring music from the movie, as well as an original score by Andrew Lloyd Webber and lyrics by Glenn Slater.

If you have not seen the movie (shame on you), here’s the basic plot: Dewey Finn, a desperately broke musician who lives on his best friend’s couch, gets an opportunity to pose as a substitute teacher at a posh $50,000/year tuition prep school, where well-to-do kids aim for “Harvard, or at least Cornell”. Unbeknownst to the school staff or the parents, Dewey jump-starts kids’ rebellious stage by organizing his class into a band and teaching them to play rock instead of learning math and history. In the process he builds kids’ self-esteem, gets them to forget about the troubles at home (yep, rich kids have problems too), and turns them into rock stars. Dewey falls in love with a beautiful, albeit uptight, school principal and gets her to reconnect with her inner rocker chick, and the parents change their minds on education.

Multitalented cast includes Broadway veterans Rob Coletti who is absolutely fabulous as Dewey, Lexie Dorsett Sharp (a cartoonishly entertaining Rosalie), very capable Matt Bittner as Ned, and Emily Borromeo (as hilariously played Patty), to name just a few. A slew of adorable, not to mention quite accomplished, kids will melt your heart and win you over without even trying. Ava Brigliawho, who plays Summer, already has a few shows under her belt (Matilda the Musical, and Gypsy), and Gilberto Moretti-Hamilton (Freddy, a New-York native, had been named “Musician of the year 2017” by the Boys Club of NYC; he plays drums (in the show), as well as piano, bass, xylophone and percussion. For most of the remaining young actors, School of Rock – The Musical is their debut. These kids are so cool, and they play their instruments live in every show!

This high energy production is moved along by the dynamic ever-changing set (scenic and costume design by Anna Louizos, lighting design by Natasha Katz) that moves seamlessly between Dewey’s apartment, school’s different rooms and the rock band stage. Great music hits are born in the kids’ classroom, and everyone wants to jump up and down to “Stick It To The Man”.

School of Rock- The Musical premiered on December 2015, and was nominated for four 2016 Tony awards, including Best Musical, Best score (Lloyd Webber and Slater), best Book (Fellowes). It also won the 2017 Oliver award for Outstanding Achievement in Music.

School of Rock – The Musical will play at the beautiful Cadillac Palace Theatre for a limited three-week engagement November 1-19, 2017. For more show information visit www.broadwayinchicago.com.

Most people are aware of the movie Carrie, starring the haunting Sissy Spacek as the picked on teenaged outsider who uses her telekinetic powers to burn down her high school with most of her attackers in it, but few know there was a sequel made in the 90's where her long lost sister ends up using the same powers to avenge her and her best friend’s mistreatment. The sequel is appropriately titled Carrie 2: The Rage. 

Writer/composer Preston Max Allen does an amazing job of using the movie sequel as his starting point in Carrie 2: The Rage (An Unauthorized Musical Parody), writing many very funny and well-crafted parody songs and scenes to fill out the play. 

Rachel Lang, the lead played solidly by Demi Zaino, finds out that the reason her best friend committed suicide the day after happily losing her virginity to one of the boys on the football team is a cruel game that the boys are playing with young girl's minds by judging their looks with a point system for the football player who "bangs them". The boys then and then dump the girls who are considered "coyote's,” not really the ugly girls just the sensitive, nerdy vulnerable ones. 

Then to make things worse Rachel ends up stealing the heart of the only nice football player that the head cheerleader is in love with and thereby invites the wrath of the cheerleaders and the team when she tries to prove the team were at fault for her friend’s death. As revenge, the team and cheerleaders gang up on Rachel and orchestrate the video taping of her having sex with the nice football player named Jesse. After viewing herself having sex and being laughed at by everyone invited to a private party, Rachel unleashes her inherited telekinetic rage powers to kill everyone much the same way Carrie did nearly two decades earlier. 

Although the plot of Carrie 2: The Rage seems like a perfect warning tale about bullying, it is also a terrifying reminder of the damage caused by sexual harassment and rape.

First of all, it is terrifying to grow up in an age where your immature teenage peers can make a sex tape of you and show it to everyone you know. Also, it shows that Rachel's virginal friend is actually thrilled to have "become a woman" with what she thinks is her new boyfriend - until he breaks up with her the very next day because his friends call her a "coyote".

The way she is broken up with is worse than the act of sex itself because it means that the act of sex itself was a vengeful act to him, not the beautiful loving experience she had been conned into thinking it was. 

All three cheerleaders are played with perfect camp, each having their own unique brand of snotty mean girl-ness that is very funny and well played. But two character actresses really steal the show in the roles of Rachel's mentally ill mother, Annie Pfohl and the high school counselor, who witnessed the first destruction of the high school with Carrie at the helm played by Sue Snell. Both Snell and Pfohl play the crazy in their roles with fantastic realism and comic timing which takes the play to a whole new level of both humor and spookiness. Sam Button-Harrison is also tremendously funny as the play’s lead bully.

You really feel for these beleaguered women who are trying desperately to forget and prevent the tragedy that has ruined their lives as well as Carrie, and now poor Rachel's, at the hands of some of the meanest boys and girls the musical comedy stage has ever seen. 

Eric Luchen, designs a set in the tiny Arkham space that seems to expand and contract with each number in marvelous ways. Choreographer Maggie Robinson and co-directors Rachel Elise Johnson and Isaac Loomer each do a wonderful job bringing this nice sized cast to life with full out dance numbers and great lighting and sound effects that move along quickly and seemed to be unfolding in a much larger space. 

I really laughed at, and thoroughly enjoyed, this well played, musical wild ride through the early nineties (right down to Rachel’s torn jeans, army boots and plaid shirt tied around her waist). The Rage is filled with gore, laughs and a moral - "People shouldn't suck so much!" Just in time for Halloween! 

Underscore Theatre’s Carrie: The Rage (An Unauthorized Musical Parody) is being performed at The Arkham through November 19th. For more show information visit http://www.underscoretheatre.org/.

Hell in a Handbag rings in its fifteenth-anniversary season with real magic in this hilarious spoof of the 60's and 70's TV shows we all grew up loving with its hocus-pocus focus on the show Bewitched. 

In this tale, Bewildered, by Aaron Benham (music and lyrics) and Ron Weaver (book and lyrics) Gladys Kravitz, the nosey neighbor of the magical family finally gets her due when she stops spying on the witch-filled household and is invited to have dinner with them. Caitlin Jackson as Gladys is splendid as she has both the musical chops to belt out every note with ease and turn the obnoxious neighbor into a sympathetic "every- woman" who feels unloved as a wife and disrespected as a person. As Gladys discovers in the surprise ending that she is magical too, her song "Leading Lady" reminds everyone in the audience to be true to themselves no matter who they are because in the end, we are ALL the leading ladies in our own lives. 

David Cerda, Hell in a Handbag, artistic director as Endora is truly at his best in this FABULOUSLY funny portrayal of Samantha's mother and steals every scene under his wig with a bat of his eyelashes and a twirl of the spectacular multi-faceted bejeweled caftans designed by Rachel Sypniewski with spot on funny as hell period wigs by Keith Ryan. Cerda as Endorra also reminds us of the ongoing plot line in the original series wherein she tries to get Samantha to leave her straight laced, sexually uninterested husband and choose from among thousands of eligible warlocks where she could live a life of magic and freedom! Instead Samantha chooses the daily humdrum dimension of the limited earth life with all its cold rules and regulations for women and men which don’t include the use of magic.

Elizabeth Morgan is adorable as Samantha and has a nice voice but needs to step out a little more with her nose twitching delightfully -  in order to keep up with the shine and glamour of wit coming full blast out of the regular cast members of Hell in a Handbag. 

As always, Ed Jones' highly anticipated presence in the show does not disappoint as Uncle Arthur and absolutely brings down the house while setting up the main story line with his wonderful rendition of "Let Yourself be a Little Gay!" Ed Jones and  David Cerda really seem to have studied their characters minute mannerisms and trademark funny bits to a tee and several times I squint my eyes and could have sworn they were channeling the original brilliant actors and actresses who played these roles on TV.  

The production handles the magic wielded by Samantha and company in a unique fashion that adds yet another jolt of humor to its audience. Bewildered also has fun with the mystery of the two Darrins who play Samantha's husbands on Bewitched in a very clever way that just has to be seen to be appreciated. 

The great thing about the superbly camp productions put on year after year by Hell in a Handbag is that no matter how bawdy they are, or how many lines of individuality they cross, they always have a positive moral underlying each show that makes you feel "pretty oh, so pretty!" in the skin that you are in!

I highly recommend seeing this fun-tastic, fast-flying production for everyone who needs a good jolt of laughter and positive affirmation about the life you are leading in these strange and hostile times.

Bewildered is being performed at Stage 773 through November 11th. For more show information visit www.handbagproductions.org.  

For Chicagoans that grew up in the 1980’s music scene, we remember favorite rock clubs such as The Thirsty Whale, Chances R and Dirty Nellies where spandex and rayon were the materials of choice and eye-liner on Aqua-net sprayed, long-haired guys was all the rage. For the glam rock scene, Chicago was always the minor league affiliate (Single A) to its Los Angeles big brother, where new bands seemingly broke out nearly every week. Almost grinding hair bands out akin to a factory assembly line, Los Angeles set the bar for rock bands all across the world, its clubs The Whiskey a Go Go, Troubadour and The Roxy stepping stones for the next big thing. In “Rock of Ages” the hilarious 1980's musical, we are taken to Los Angeles where the fictional Bourbon Room, one of the last rock hold outs, is under the threat of eminent domain as big money developers have other plans for the property.

Club owner Dennis (riotously played by Chicago favorite Gene Weygandt) runs The Bourbon Room with his sidekick and fellow rocker Lonny (Nick Druzbanski), who also serves as the play’s narrator. Realizing the club’s days are numbered, the two decide to go all out by bringing back Arsenal, a major band that got the start from The Bourbon Room, to play their final show with lead singer and egomaniac, Stacee Jaxx, who is off to pursue a solo career.

And what would an 80’s musical be without a cheesy love story? Bar back and aspiring musician, Drew, is instantly love struck when Dennis hires Sherrie (of course a hopeful actress) to be the club’s new waitress. From there we root for The Bourbon club, along with those protesting the new corporate development, and also for Drew and Sherrie to find love.

“Rock of Ages” is a fun time capsule filled with 80’s rock classics that includes Warrant’s “Heaven”, Journey’s “Don’t stop Believin’”, Twisted Sister’s “We’re Not Gonna Take It”, “Extreme’s “More than Words” and many, many more. Though a parody of the era, “Rock of Ages” is an entertaining tribute to an age in music that, though considered kitschy by some, left a major impact in the world of music. The musical makes several 80’s refences that can’t help but make us forty-to-fifty-somethings laugh, such as Drew’s date with Sherrie where he tries to romance her with a four-pack of Bartles & James wine coolers.

The show boasts as good of a cast as one could ask for. Adam Michaels as self-aggrandizer and vulgar lead singer, Stacee Jaxx, is absolutely hysterical in the role. His moments are plenty as he puts on full display his great knack for physical comedy along with some pretty raging vocals. And as one who has seen this production more times than I remember, I can say quite confidently that Nick Druzbanski may just be the best Lonny I have seen yet. Druzbanski really fires on all cylinders and is a comedic whirlwind, also contributing nicely with strong vocals, certainly deserving a Fogmaster 5000 for a performance nothing short of outstanding.

Notable vocal performances are aplenty in this production with both Cherry Torres as Sherrie and Russell Mernaugh as Drew impressing with their singing prowess in number after number. Both skilled singers as they are actors, Torres and Mernaugh also spark a wonderful chemistry and are able to deliver plenty of funny moments. Though many, other performances of note are Donica Lynn, who sings beautifully when called upon and Nick Cosgrove who nails the role of Franz, the flamboyant German son of developer Hertz, who draws a laugh in just about every scene he occupies.

“Rock of Ages” is silly fun. It’s a campy drive down memory lane. It’s highly recommended. It’s also part concert, as a live band plays from a stage upon the stage throughout the show, tasty guitar licks and all. For some, they will relive the highly memorable era, for others they will receive a tongue-in-cheek glimpse of a time when the Los Angeles rock scene churned out hair bands like Motley Crue, Poison and Ratt.

With Falls theatrical productions in full bloom, this is a must see.

“Rock of Ages” is being performed at Drury Lane Theatre in Oakbrook through October 15th. For tickets and/or more show information, visit www.DruryLaneTheatre.com.

“This world will remember me,” Bonnie and Clyde sing to each other in Kokandy Productions’ presentation of “Bonnie & Clyde” – a musical. Directed by Spencer Neiman, this odd-ball musical makes its area premiere after an unsuccessful Broadway run in 2011. This production also marks the fifth anniversary of Kokandy Productions, now a regular staple of Chicago’s storefront theater scene.

“Bonnie & Clyde” was developed in 2009 by La Jolla Playhouse in California, a frequent incubator for new Broadway work. The show opened officially on Broadway in 2011, but closed after 36 performances. Critics were not especially kind.

Even though it’s not a direct adaptation, it’s nearly impossible not to compare this musical to Arthur Penn’s stylish 1967 film. It’s an American film classic with iconic performances by Faye Dunaway and Warren Beatty. It’s widely considered a turning point in American cinema. The film was focused less on historical accuracy and more on drawing comparisons between the young outlaws and the political awakening of the late 60s. The musical tends to tread on the same territory as Penn’s film but in a less dynamic way.

The issue is camp. Penn’s film is mostly devoid of camp even some fifty years later. “Bonnie & Clyde” the musical feels like two hours of pure kitsch. There’s no discernable reason this story needed to be told to music and unfortunately the empty songs prove that. Neiman’s cast seems to forget that these characters were indeed real people and not cartoon characters to be parodied. The nature of the material isn’t especially satirical, but this cast has decided it is.

Missy Wise as Blanche Barrow pretty much steals the show with her number ‘You’re Goin’ Back to Jail’, but the whole thing feels a bit Disney-fied, considering that the real Blanche Barrow served time for armed robbery.

The two leads Desiree Gonzales and Max Detogne are both incredible performers. Detogne’s voice is perfectly suited for the country-tinged folk rock of Frank Wildhorn’s music. Gonzalas also has a strong voice and makes some genuine choices for Bonnie Parker, adding a real dimension to her that isn’t otherwise in the script. The generic “I-wish” song feels sincere with Gonzalas singing. You will remember her, just like Clara Bow. Detogne also makes it his own. There’s a chemistry between the two that really translates.

If you were just dying to see “Bonnie & Clyde” during its Broadway run in 2011, Kokandy offers up a serviceable production. If you were hoping to gain more knowledge about the infamous star-crossed outlaws, you may be impressed at what playwright Ivan Menchel spins into his version of “Bonnie & Clyde.”

Through October 15 at Kokandy Productions. Theatre Wit 1229 West Belmont Ave.

If you like Vegas like I like Vegas, you will love Marriott Theatre’s energetic and top notch, romantic musical comedy production of "Honeymoon in Vegas"!

Jack Singer (Michael Mahler) is in love with his girlfriend of five years Betsy Nolan (played with terrific spunk and formidable singing chops by Samantha Pauly), but was traumatized by the deathbed wish his mother imposed on him never to marry, because no one can love him like she did.  Bea (Marya Grandy) plays his mother with great physical comedy skills and her hospital deathbed scene where she strikes down a passing nurse in order to show jack what she can do to his future brides to be, gets some of the biggest laughs in the show. 

Jack and Betsy get through this flashback scene and resulting panic attack while shopping at Tiffany's for her ring and head straight to Vegas to tie the knot - before he loses his nerve for the umpteenth time. 

Upon arriving in Vegas, Betsy is instantly spotted by Tommy Korman, a rich, handsome but slightly shady businessman played to perfection by Chicago born actor Sean Allan Krill. Betsy reminds Korman of his past wife and then he goes all out to steal her from tentative Singer. His pursuit really begins when he invites Singer to a “low stakes” poker game, letting him win a few hands – a total set up. Singer has a hand next to impossible to beat and the pot becomes so large there is no way he can pay up if he loses. That’s when the fun really begins. Sean Allen Krill was the standby in this role for Tony Danza on Broadway. Krill was just fantastic and I'm not the only critic in Chicago to say Sean Allen Krill should be a huge Broadway star right now. Krill is so smooth in the role of Tommy Korman, so fluid and graceful in his immediate desire for, and courtship of, Betsy that women and men throughout the theater were so wowed by Krill's amazing singing voice and comedic acting chops that they actually wished Betsy would stay with him in Hawaii and not marry the non-committal, bumbling, but kind, Jack Singer. 

Another character actress deserving of special notice is Christine Bunuan, as the funny and fabulous Hawaiian tour guide who helps Jack find Betsy and Korman (yes, the story moves to Hawaii), but not without first trying desperately to make “Friki-Friki with Jack before delivering him to his destination. 

While talented Alex Goodrich is very funny to watch in multiple roles, Steven Strafford also shows off his comedic talent as Korman's sidekick, Johnny Sandwich.  

Several of the leading creators of its 2015 Broadway production were brought in by the Marriott Theater including director Gary Griffin, choreographer Denis Jones, and costume designer Brian Hemesath. The effect of all these highly skilled players coming together is a full-service production that grabs you right from the start with well-paced scenes and challenging, yet humorous, dance numbers that dazzle the audience with beautiful, leggy showgirls - Vegas style. 

I highly recommend this adorably sexy and funny, Elvis-filled production for young and old alike. This production is so well-played and fun to watch that you will feel you have had a honeymoon in Vegas - with a stop-over in beautiful Hawaii to boot!  

Honeymoon in Vegas is being performed at Marriott Theatre through October 15th. For more show information visit www.marriotttheatre.com.