Displaying items by tag: chicago theatre

It’s the wild 1930’s in Berlin and it’s anything goes at the Kit Kat Klub where an impish Emcee feasts on making the haunt as alluring as possible to its guests. He loves the boys, he loves the girls and he loves the orchestra. Headliner Sally Bowles leads the cabaret dancers in the playful club where one can phone table to table if interested in another. Bowles is brassy, commanding and she flat out belts, leaving little doubt who runs the show. This is quickly evidenced in her racy opening number “Don’t Tell Mama”. It is a place of decadent carnival where boundaries do not exist and guests are endlessly entertained by its sexy performers. 

American writer Cliff Bradshaw soon arrives via train ride where he meets new friend Ernst Ludwig. The two quickly hit it off. While getting to know each other, Bradshaw reveals he is looking for a place to stay, so Ludwig recommends a boarding house run by Fraulien Schneider. Searching for inspiration for his second novel, Bradshaw visits the nearby Kit Kat Klub where he is opened to a world he never knew existed. 

While Bradshaw and Bowles get to know each other (and then some), Herr Schultz, an elderly German, regularly visits the boarding house where he shows his affections for Schneider by bringing her fruit from the nearby produce store that he owns. Soon Schultz and Schneider agree to marry, while Bowles and Bradshaw become cozier, the two now living together. The club is thriving and all seems well in 1930’s Berlin. 

But the shadow of the Nazi regime is gradually becoming much more apparent. Slowly, the danger of a growing Third Reich is affecting Berlin. Gradually, the carefree mood of many Berlin residents becomes that of one awaiting impending doom. Some sense a mounting tragedy afoot and fear a change for the worse in Germany. 

Yet, the threat is still in its infancy stage, whereas Schultz, a Jew, naively states, “Everything will be fine. After all, I am a German.” At the same time, Schneider fears her association with Schultz will put her business under as the hatred against Jewish-Germans becomes more apparent. 

Cabaret is the gripping account of how a circle of friends and businesses in Berlin are overcome by the inevitable Nazi threat, from the story's hopeful beginning full of modernization and progressive views to its haunting end. 

The production is seamlessly woven together. Throughout the musical, there is an ongoing collocation of dialogue scenes and songs that serve as explanation to the story while a series of distinct cabaret numbers provide a public observation for the times. 

“Cabaret continues to attract both new audiences and return visitors more than fifty years after its initial Broadway production, because it has everything – fascinating characters, iconic music, a dazzling look that transports us to a different world that is still incredibly timely and relevant today,” says Artistic Director Linda Fortunato.

Her statement couldn’t bear more truth as the production has won eight Tony Awards, including Best Musical and Best Original Score. 

The casting in Theatre at the Center’s Cabaret is very strong. Danni Smith, who recently impressed theatre goers in the leading role of “Donna” in Marriott Theatre’s Mamma Mia! is sensational as Sally Bowles. Smith’s robust, velvety vocals along with just the right air of confidence make for yet another successful leading role for the fetching stage star. Smith’s astounding performance alone is worth the ticket cost and drive to Munster, Indiana. Yet, the same impressionable effect on the audience can be said for co-lead Sean Fortunato as the mischievous Emcee, who is a pure delight to watch as he captures a changing Berlin within his character most effectively through a well-acted gamut of emotions. We watch on as the whimsical Master of Ceremonies is sincerely affected by what he recognizes is the beginning to the end of an era, yet we see his strength as he bravely presents an amusing appearance for his club-goers to distract from the imminent threat. 

Patrick Tierney (Bradshaw), Craig Spindle (Schultz), Iris Lieberman (Schneider), Christopher Davis (Ernst) and a very capable ensemble round out this talented cast that help in creating a magical Cabaret experience, along with an extraordinary creative team that so well brings the period to life. 

Based on a book written by Christopher Isherwood, with music by John Kander and lyrics by Fred Ebb, Cabaret is loaded with wonderful show tunes that include “Perfectly Marvelous”, “The Money Song”, “Married”, "Willkommen", “If You Could See Her” and Bowles highly-charged title song “Cabaret”. 

Well-constructed, finely acted and beautifully sung, Cabaret is an epic theatre experience not to miss.   

Cabaret is being performed at Theatre at the Center (1040 Ridge Road, Munster, IN) through June 4th. For show times, tickets and/or more show information, visit www.TheatreAtTheCenter.com. 

Try to remember a time before the Internet, before dating sites, before personal ads and instant cameras and you will eventually discover the age-old path of finding love and dating for men and women called "Lonely Hearts Clubs". 

In Marriott Theatre’s “She Loves Me", a musical with a book by Joe Masteroff, lyrics by Sheldon Harnick, and music by Jerry Bock, two co-workers at the quaint Maraczek’s Parfumerie shop have unwittingly fallen in love with each other by the “Dear Friend” letters they have sent and received through their lonely hearts club connection. Though Georg and Amalia have not seen even a single photo of the other they each are certain by the written words of the other that they are truly in love and are ready to finally meet. 

Alex Goodrich’s Georg, the male half of this love match starts out as a bit of a jerk. Goodrich, who puts forth a very strong performance, makes Georg very sympathetic, albeit a bit of a boor though he is likable to his co-workers. He is earnestly content with his fifteen-year-plus job at the store. Although he has lots of girls who are real friends, it turns out Georg is completely insecure and out of touch with his feelings towards the opposite sex when it comes to romance. 

When Elizabeth Telford enters the store as Amalia (who is both seeking employment and unsuspectingly the other half of the lonely hearts club love letters), Georg is utterly irritated by her natural instinct for sales. Georg treats her with disdain even though she is cute and eminently qualified for the job she gets from the boss after selling a new product, a musical cigarette box, in record time. 

Both Goodrich and Telford endear you to their stubborn characters over the course of the show. As delivery boy, Arpad, played with youthful cheer, by Grant Kilian says to another clerk at the store with wonder, "Do they like each other?” The other clerk says, " Yes, they like each other very much," to which Arpad says, "Well shouldn't someone tell them?"  

Elizabeth Telford really knocks it put of the park emotionally and vocally with the number “Will He Like Me?", as she muses about all the different qualities he may or may not find attractive about her once they finally meet. Also, her genuinely joyous and girlish rendition of "Vanilla Ice Cream" lifts the audience to believe in true love again as Georg, who has already stood her up once, breaking her heart so badly that she cannot return to work that day, delivers a pint of Amalias' favorite vanilla ice cream. The thoughtful gesture makes her happy at his consideration in a way that begins to dimly realize what might be real love despite his earlier disdainful and brutish treatment of her feelings at work.  

Yes, it's like a period piece version of " You've Got Mail" that plays with a very modern feel as couples STILL face these challenges trying to find their mate today despite the Internet dating revolution. 

(Above) Jessica Naimy as "Ilona" and Jame Earl Jones II as "Sipos"

Jessica Naimy as Ilona steals the show with two of her numbers as the sexy, single gal at the Parfumerie who lets her desire for Mr. Right get in the way of finding her Mr. Right. In “I Resolve”, Naimy sings with genuine force and power that she resolves to let go of her destructive purely sexual relationship with the lothario of the drugstore and rather stand up for the truly lovable and deserving-of-respect woman she really is. In the number “Trip to the Library", Ilona seems to unconsciously know that a trip to a place of higher learning for the evening instead of to the local drinking hole will eventually lead to her meeting a man of substance and intelligence who loves her the way she was meant to be loved. 

James Earl Jones II as Sipos, the clerk with a family who will kiss anyone's butt to save his boring but dependable job, delivers a very funny, dry performance and his singing voice is both comical and deeply resounding. Great job!  And David Schlumpf as Steven Kodaly, the womanizing and insensitive clerk who'll sleep with anyone, really makes you want to slap him in the face, but his number “Grand Knowing You" shows the audience his sexist honesty is what finally pushes Ilona over the brink to find her own self-respect again, even if it means being alone for a while. 

Shop owner Mr. Maraczek is also well played by Terry Hamilton, as he is able to finely capture both the character’s storminess as that of a demanding boss and the good heartedness that hides beneath his exterior. 

The slicked back hair and black tails of The Headwaiter who serves Georg and Amalia at their very first meeting at a "romantic hideaway" is hysterically portrayed by Steven Strafford who has great physical comedy skills with his spot on facial expressions and timing. 

Directed and choreographed by Artistic Director Aaron Thielen, “She Loves Me” is a cute love story that features many charming characters and fun numbers including the adorable “Thank You, Madam” a goodbye the store employees sing together whenever a customer leaves the shop.

Thank you, madam. 

Please call again. 

Do call again, 

Madam

I highly recommend this heartwarming, fresh and fun production which is brought to life by Jeffrey D. Kmiec’s sets, Jesse Klug’s soft and lovely period lighting and especially Sally Dolembo’s really delicious, color-rich costumes for both the leads and the wonderful ensemble of players who portray shoppers in the store. Altogether with this superb cast, "She Loves Me" brings the art of lovemaking in this long past period to life in a delightful modern way. 

“She Loves Me” is being performed at Marriott Theatre in Lincolnshire through June 18th. For tickets and show information click here. 

Set in the 1930's, this melodrama has all the ingredients you'd expect, sex, drugs, murders and the quick, clever banter of women fighting for their lives in a film noir-colored seedy underworld of a dance hall/nightclub/whorehouse.

In the latest Hell in a Handbag production "Lady X - The Musical", director and writer/composer David Cerda plays Scarlet stunningly dressed in delicious blood-red with all of the oomph, hilarity and confident power of his Joan Crawford character. Cerda really is the sun around which all of the talented planets in his cast revolve and he does it with great force and superb dry humor that trumps all and anchors the show with fear of the ultimate female "mob boss" that Hell in a Handbag fans have come to love and expect. Like Cerda says at the end of the show, "Hell in a Handbag is not just a theatre company it's a cult!" 

Christea Parent as Mary Dwight, is Lady X whose innocent younger sister comes to town to finish school but ends up tragically caught in the champagne filled "make it rain" dollars mentality. Christea Parent is unbelievably on point as the leader of the dames, the only one with a real purpose in life and the brains enough to stay out of the clutches of the gross "john” and the abusive bosses who take over the club by murdering the previous owner. 

Christea Parent, with the help of Kate Setzer Kamphausen’s fabulous period costumes, Keith Ryan’s hysterical and yet perfectly designed and coiffed wigs and Sydney Genco’s detailed makeup designs, (right down to the different types of fake eyelashes for each character) dominates the show with her singing, dancing and fast-talking character reminiscent of Barbara Stanwyck. I was dazzled by her mastery of the period acting while keeping her character both funny and deserving of compassion at every level.  

Almost all of my Hell in a Handbag fave performers were featured well in this production like Ed Jones, as Estelle, the "oldest whore" in the bunch. Jones is hysterical as always with his slightly breathy, tongue-in-cheek, sympathetic "grandmom” character of the group. Estelle, despite her age has found her perfect baby boy lover in the young Val, played with adorable youthful energy by another Handbag regular, handsome Chazie Bly. Their duet, “A Lovely Pair”, got some of the biggest laughs in the show's numbers and the perfect casting made their May/December romance absolutely understandable and even enviable. 

Caitlin Jackson, who blew me AWAY as “Bette, LIVE at the Continental Baths” a few months ago at Theater Wit is Gabby. Her aging and wise Betty Boop-style character is fully formed, lovable and again Jackson brought down the house with her amazing voice during the showstopper “Flim Flam Floozy”.

 Elizabeth Lesinski another Hell in a Handbag regular does an amazing job in her role, her comedic touch as perfect as ever. 

Wide-eyed director Steve Love enters the show to co-star as Betty Dwight, Mary’s naive kid sister who Mary is trying to keep in school and off the streets. Love is a breath of fresh air in the snake pit of despair these women swim in as the hopeful innocent, tap dancing her way into the audience’s hearts. 

Laura Coleman, one of the women playing a man characters is really funny and sharp as Frank Gorham, the attorney seeking justice of his own while Adrian Hadlock, also plays several characters and is really ingenious in his multi-layered portrayals of Crandall, Louie and the Judge.

“Lady X” has so many fun and wonderful twists and turns, it would be shame to spoil them all by giving them away, but suffice it to say David Cerda has once again created a whole new world all his own where the lines between male and female, innocent and guilty are marvelously blurred to show the vulnerability of all humankind when pressed to fight for their lives, livelihood and self-respect.

Cerda’s play is full of belly laughs from beginning to end and contains several very touching song numbers, like white picket fence, flower-filled "The House on the Hill", which all the women dream of retiring to, the song rounding out the hilarity with genuine sentiment. 

"Lady X" is destined to become another Hell in a Handbag hit.  

I highly recommend “Lady X"  for ladies , gentlemen and flim flam floozies everywhere seeking to escape from the horrors of the current political landscape facing the LGTBQ community and instead be surrounded by a joyous, celebration of strong women from all walks of life and the dangers they faced in the 30's as well as the dangers they face now.

“Lady X - The Musical" is being performed at Mary’s Attic in Andersonville through June 17th. For more show information or to purchase tickets visit http://www.handbagproductions.org/.   

Brett Neveu is a playwright to watch. To call him up-and-coming would be unfair as his work has appeared at The Goodman, Writers Theatre and Red Orchid Threatre. His new play "Her America" is being presented by The Greenhouse Theater Center as part of their Solo Celebration Series. 

Directed by Linda Gillum, "Her America" is single character play starring Kate Buddeke. She gives a riveting performance as a not-all-there Midwestern housewife locked in a basement. Buddeke embodies the character effortlessly. Her delivery is familiar and in many lines, hauntingly real. 

In the hour we spend with this unnamed character, she uses objects in her basement to freely associate memories and stories from her childhood. To whom she is speaking remains a mystery throughout. Neveu's script is highly detailed which serves to dimensionalize Buddeke's character. Through random memories, she explains the various influences in her life and how she became the person she is.

"Her America" files down to a crushing revelation, but along the way uncovers something darker. It says a lot about what life is like in America for those with few options. It's rare when the theater gives a truly empathetic portrayal of rural life. "Her America" was written in a bitterly devisive time and its message is to say that we should be more understanding with each other. 

Through February 12 at The Greenhouse Theater Center. 2257 N Lincoln Ave. 

Fun Home is not merely a well-crafted, excellent musical in every sense of the word but an important one. Fittingly winning the Tony award for Best Musical the same year same-sex marriage was legalized in the United States, Fun Home is the first Broadway musical to feature a lesbian protagonist. Beyond that, it is also the first musical to discuss homosexuality in such an open way. The main character, Alison, discovers and learns about her own sexuality the same time her father, Bruce, is battling with his. Her coming out of the closet coincides so aptly with his repression into it that it's amazing they didn't run into each other in the doorway. 

Based on writer and cartoonist Alison Bechdel's 2006 graphic memoir of the same name, the story told in Fun Home -- already dramatic and engaging on its own -- becomes that much more poignant due to the fact that it is true. This was Bechdel's life, and it is an extremely personal tale that requires a paradoxical balance of vulnerability and courage to tell.

Non-linear, like Bechdel's memoir, and brimming with intelligence, humor, and frustration, Fun Home is less a typical musical than it is a dramatic play with songs sprinkled in. Where you won't find big show-stopping numbers that burst onto the scene, you'll find elegant, pretty melodies that extend organically from significant moments in the story. The protagonist, Alison, is portrayed by three actresses to encompass her lifespan thus far: Small Al, Middle Al, and Big Al -- or just Al, who is present-day Alison writing and narrating her story.

Her father Bruce serves as both a mirror of and partial antagonist to Alison. As is said in the musical a couple of times, the heart of Fun Home is that Alison and Bruce are "nothing alike" and "exactly alike." Al's relationship with her father is set against the backdrop of their functionally dysfunctional family, with Al's two brothers playing a part as well as Helen, their mother and the long-suffering wife of Bruce. An English teacher, intellectual, and funeral director -- their house doubles as a funeral home, from where the title is derived -- Bruce fusses over every aspect of their family house, improving and embellishing every detail in a clear projection of the lack of control he feels he has over his own life, all the while subjecting the rest of the family to his obsession.

Fun Home doesn't shy away from anything. Big ideas are conveyed through small details, which include everything from the seemingly most mundane aspects of life (like cleaning the house) to the most intimate and even somewhat embarrassing (like after Al's first sexual experience with a girl when she adorably and giddily freaks out, declaring she's "changing [her] major to Joan.") It's funny, poignant, sad, and most of all, honest.

It is the least cheesy musical you will ever see.

On top of its artistic integrity alone, Fun Home is an extremely important musical for LGBT awareness. It brings the (to some, distant or fearsome) ideas of homosexuality and "coming out" to the stage and airs them out in a way that demystifies them and, by default, normalizes them. This is the first step to achieving acceptance: removing fear and saying, "Yes. This is normal. This messed up family that happens to include some gay people is just like your messed up family that happens to include some straight people." It can really be that simple, thanks to shows like Fun Home that are unafraid to be real.

Fun Home is playing at the Oriental Theater through November 13th.

What more can be said about the phenomenon that is Hamilton: An American Musical? The ever-growing hype, not to mention the genius content, speak for themselves. It was nothing less than an absolute thrill to finally sit down to see this musical after nearly a year of obsessing over the 46 - yes, forty-six - song soundtrack. Who ever knew that textbook American history could be so exciting and jarringly relevant?

The nearly three hour, entirely sung/rapped performance takes the audience through the life of the "ten dollar founding father" Alexander Hamilton. Before creator Lin-Manuel Miranda masterfully brought Hamilton's biography to the stage, everyone who isn't a history teacher likely only knew Hamilton from the ten dollar bill, but, contrary to a recurring lyric in the show, there were a million things he did for the country. Namely, he created a financial plan that saved America in a time of major debt as well as established the first national bank. If that sounds dry, it's only because you haven't heard "The Room Where It Happens" yet.

Not only does the story cover Hamilton's achievements and downfalls, but it paints a vivid portrait of colonial life, the complications of war during the American Revolution, and the messy aftermath of establishing a new nation. Other important historical figures we'd normally associate with flat images in books or on paper money are also presented as fully-fledged and in the flesh, such as George Washington, Aaron Burr, Thomas Jefferson, and James Madison, among others. Central to the story as well are the two female leads of the show, Eliza and Angelica Schuyler, who were daughters of a wealthy revolutionary-turned-senator and may not have been widely known before but are certainly getting the recognition they deserve now. To top it off, these exclusively white historical figures are portrayed by people of color, keenly driving home the show's message regarding immigrants' roles in the founding of our country and representing a current snapshot of American life.

All of this is fueled by the exquisitely-crafted music and intelligent lyrics that have astounded listeners of all ages and creeds. With most of the lyrics rapped, there is room for an incredible amount of detail, proving further that Miranda is nothing less than a creative genius. Only rap would allow literal paragraphs of information to fit into a single song, and this style serves the purpose of the musical brilliantly in conjunction with the more traditionally sung parts that, in turn, give the audience small breaks to digest everything.

The Chicago cast is immensely talented - imagine all the actors who auditioned for these coveted roles - and can easily hold a candle to its Broadway equivalent. Many of the actors play multiple roles, impressively switching characters from Act One to Act Two. Favorites for me included Chris Lee as a hilariously arrogant Jefferson, Ari Afsar as a strong yet vulnerable Eliza, and Joshua Henry as the smooth-voiced nemesis to Hamilton, Aaron Burr (sir).

It's hard to say when the last time a musical of this magnitude and social significance came around, as nothing that has been done before can really compare to Hamilton. Truly unique, engaging, educational, sharp, funny, heartbreaking, and moving, we should appreciate getting to witness this watershed moment in Broadway history and heed advice from the repeated Hamilton lyric to "look around at how lucky we are to be alive right now!"

Hamilton is playing at the Private Bank Theater at 18 W Monroe St. now and indefinitely. Tickets can be purchased on Ticketmaster, or you can enter the daily ticket lottery here.

Before the colonial history of New York City was hip hop-ified by outrageously talented Broadway composer/writer/actor Lin-Manuel Miranda, a small portion of the city had its own hip hop story to tell. In the Heights, which premiered on Broadway in 2008 and subsequently won the Tony for Best Musical (among four total wins) and Grammy for Best Musical Show album, features a lively ensemble who collectively share the story of their own corner of Manhattan. 

It's appropriate that Chicago's Porchlight Music Theatre chose Miranda's first musical to perform through October, as it will overlap the Chicago premiere of his second musical, the cultural phenomenon Hamilton, which gets its own Loop theater at the end of the month. Like Hamilton, In the Heights is a mixture of brilliantly crafted rap, (as well as merengue and salsa), powerful singing, and rich, often funny, dialogue. 

The story, set in Manhattan's predominantly Latino neighborhood Washington Heights, centers around the neighborhood bodega where the members of the community congregate, whether to grab their morning coffee, flirt, gossip, or discuss their dreams, their conversations painting a complicated portrait of the "barrio" life. Some of them, like the willful and stubborn Vanessa, see the Heights as a prison sentence and hope for a better future, wishing to get out by any means. Others, like Abuela Claudia, immigrated to the utopian New York City when they were young and dearly love the neighborhood in which they have lived most of their lives. Meanwhile, others struggle with both love and disdain for the Heights, like college dropout Nina who wrestles with the shame of losing her scholarship and breaking the bittersweet news to her parents that she must return home. 

On top of the drama, humor, romance, heartbreak, and impossible hopes sung and rapped about by the various characters -- Porchlight's modest 18-person cast showcases strong talent, the powerful female voices in particular could easily be heard on a professional Broadway stage -- the authenticity of a real New York community shines through. From the "piragua" (flavored shaved ice) seller carting through town, to the close-knit gossipy hair salon, to the shop owners chasing away graffiti artists, to the fierce Puerto Rican and Dominican pride on display, In the Heights realistically captures the essence of a colorful, cultural community. It entices and welcomes you with open arms, making you feel like you could be right at home if you found yourself at the edge of northern Manhattan getting off the A train at 181st Street.

In the Heights is playing at Stage 773 now through Sunday, October 23rd. Tickets can be purchased at Porchlight Music Theatre.