Displaying items by tag: Marriott Theatre for Young Audiences

There was only one star of the Cubs-Diamondback series this past weekend in Chicago and it wasn’t a player. It was a pigeon who spent a sleepy seven innings strutting along the third base line to the delight of cameramen and Cubs fans. Who can blame the cameraman panning in on the funny looking bird when our beloved Cubbies couldn’t manage to get a player on base let alone to third? At one point fans were telling the team to put let the Pigeon play. But my son cautioned us all: Don’t let the pigeon play baseball. This sentiment was agreed upon by all the children in our section of the stands. The reason was that pigeons think they are old enough, mature enough, talented enough, when in reality they can’t play baseball any more than they could drive a bus and the children had the Mo Willems receipts to prove it. But in a world of Don’ts, particularly involving our fine feathered friends, there is one thing we all should do, and that is seeing the soon to be crowd favorite of Don’t Let the Pigeon Drive the Bus! The Musical!

Hop on board for an unforgettable ride with the Pigeon in Don’t Let the Pigeon Drive the Bus! The Musical! In this feather-filled extravaganza based on Mo Willems’ bestselling books, the Pigeon is back and he’s ready to take the stage. When the Bus Driver has a crisis that threatens to make her passengers late, the wily bird sees his chance to take the wheel. With an innovative mix of actors, puppets, and feathers, this production brings the beloved characters to life like never before. Featuring a hilarious script co-written by Willems and Mr. Warburton and catchy songs by Deborah Wicks La Puma, this show is perfect for the whole family. Suitable for children ages 4 and up, Don’t Let the Pigeon Drive the Bus! The Musical! is an interactive and joyous experience.

Similar to Willem’s musical adaptation Elephant & Piggie’s “We Are in a Play!” that premiered at Marriott Theatre in Chicago, Don’t Let the Pigeon Drive the Bus! The Musical! brings the beloved children’s story about the Pigeon to life, focusing nearly entirely on Drive the Bus, but references Willem’s other Pigeon books such as Stay up Late, Duckling gets a Cookie, Pigeon Wants a Puppy and Pigeon Finds A Hot Dog. Unlike its predecessor, Drive the Bus relied too heavily on the one book for source material. The Pigeon was almost a secondary character behind the bus driver, and duckling hardly made an appearance the whole show. The play lacked a well crafted storyline that could have tied all the beloved books together, relying on overexaggerated bits and gags that had kids rolling in the aisles and some clever quips that adults ostrich chuckled at. What the musical story might lack, Marriott Theatre makes up for in its local talent. Actors and actresses belted out catchy tunes and demonstrated their breathtakingly impressive ranges. The actors make the musical accessible and easy to follow for children of all ages, using the full 360-degree stage to ensure every section of the theatre feels included in the show and can see the Pigeon. While the story might not be as strong or entertaining as the Piggie and Elephant musical, the magic and charm of Mo Willems still shines through and it is well worth the trip to Lincolnshire to delight your kids of all ages.

The Cubs might lose some, but there is plenty of season left. The same cannot be said for this limited run of Don’t Let the Pigeon Drive the Bus! The Musical!, now playing only through August 11^th at the Marriott Theatre in Lincolnshire. Maybe the Pigeon shouldn’t drive the bus, but maybe, just maybe, the Cubs shouldn’t discount the Pigeon to be a reserve player for the latter half of the season. Tickets for Don’t Let the Pigeon Drive the Bus! The Musical! are available at www.marriotttheatre.com.

For anyone familiar with children’s literature, Roald Dahl is a household name. Since the 1960s, Dahl has entertained and enchanted his young readers with fantastical tales of witches, giants, talking animals, magical chocolate factories, and yes, even a giant peach.

So, it is more than appropriate that the Marriott Theatre in Lincolnshire has added to its children’s theatre repertoire for the 2023-2024 season a lively and imaginative adaptation of Dahl’s classic James and the Giant Peach. During the 70-minute run time – perfectly suited for the younger audience – the gifted and energetic ensemble bring to life the magical adventures of James Henry Trotter and his intrepid insect friends – Earthworm, Green Grasshopper, Centipede, Spider, and Ladybug.

In this adaptation of the musical, which premiered in 2010, with a score composed by the Tony Award-nominated team of Benj Pasek and Justin Paul (La La Land, Dear Evan Hansen, The Greatest Showman) and book by award-winning playwright Timothy Allen McDonald (who also adapted Dahl’s most well-known work, Willy Wonka), the charm and quirky characters of Dahl’s James and the Giant Peach are introduced once again to a new generation of fans.

The audience is guided through James’ adventure under the skillful musical narration of Ladahlord, a mysterious magical man, capably played by Chicago theatre veteran, Alex Goodrich. As he informs the audience, magic is going to unfold “Right Before Your Eyes” in the opening number. And then it does, as spiders, earthworms, grasshoppers, ladybugs, centipedes, charging rhinos, ravenous sharks, and comical seagulls all come brilliantly to life through the creative combination of puppets and actors and innovations of costume and wig designers Amanda Vander Byl and Ray Sanchez and gifted props master Leo Bassow.

For those unfamiliar with the story, James becomes an orphan after his parents are eaten by a rhino (see above!) who has escaped the London Zoo. He falls into the hands of his wicked aunts, Aunts Sponge and Spiker. After being given a magical potion of crocodile tongues by Ladahlord, James trips and scatters the potion before he can use its power. What does result, however, is a gigantic peach!

While the aunts try to make money off charging people to see the giant peach, James enters the peach itself, finding himself in the company of human-sized insects. After the peach drops from the tree and rolls into the ocean, James and his companions use their wits and abilities to battle sharks and other obstacles to voyage across the ocean. Eventually the peach lands on the Empire State Building. When it drops to the ground, it crushes the two wicked aunts who have followed the peach across the ocean, and James and his newfound family are home at last.

From the beginning, the audience is captivated by the music, puppets, and the talented cast. James is wonderfully played by 12-year-old Kai Edgar, who made his acting debut at age 8 in the title role of Oliver at the Marriott Theatre. Edgar brings an energy and poise to his performance that is well beyond his age. His amazing performance alone is reason enough to see the show.

He is joined onstage by an equally experienced and gifted ensemble. The dour and doubting Centipede is brilliantly played by Garrett Lutz, who has appeared on numerous Chicago stages, including numerous Marriott productions. Andrés Enriquez also returns to the Marriott stage and delights as the near-sighted and fearful Earthworm. Enriquez shines in his number “Plumb and Juicy,” one of the show’s more memorable tunes, as he breaks from his reserve and fears to help save his companions.

The ensemble is rounded out by veteran actor Christopher Kale Jones, who plays the wise and steady Green Grasshopper and undeniable leader of the group, with an understated elegance and humor. He is joined by Elizabeth Telford, as the kind and motherly Ladybug, who brings a sweetness and tenderness to her role. Juwon Tyrel Perry, who most recently appeared in Marriott Theatre in its Carole King tribute musical, Beautiful, who plays Spider, with a hip and stylish vibe.

And of course, no Roald Dahl story is complete without its villains, which are wonderfully played by Lucy Godinez and Leah Morrow, as the delightfully wicked aunts, Sponge and Spiker, respectively. The pair’s oversized personalities and outlandish antics are crowd favorites, but that doesn’t stop the audience from cheering when their evil designs are finally crushed after the peach drops on them.

Under the direction of Tommy Rapley, who also choreographs the performance, Dahl’s classic tale entertains and captivates the audience with its fast-paced action, nonstop comedy, and innovative set. Marriott’s signature theatre is the perfect venue and James and the Giant Peach is the perfect production to introduce your children and grandchildren to the wonderful world of theatre.

You can catch James and the Giant Peach at the Marriott through March 30th.

There is a lot of bad content out there, particularly regarding family programming. Any parent forced to endure an hour of Cocomelon will tell you, not every show is a banger or cult classic in the making. When modern programming fails, it is nice to know we can reach into the past and find good, reliable programming in the classics. For us, those classics are Rugrats, The Simpsons, Powerpuff Girls, Fraggle Rock, and of course School House Rock. When we learned that another classic, even more vintage, had a musical, we knew we had to check it out. With 2023 being the year of 'what was old is new again,' we ventured to the Northern burbs to see You're a Good Man, Charlie Brown.

Based on the beloved Charles Schulz comic strip, the 1967 musical features Charlie Brown and the Peanuts bunch as they explore life's great questions: playing baseball, struggling with homework, singing songs, swooning over their crushes, and celebrating the joy of friendship.

We were so hopeful for this play and curious about the comic strip in musical form. There were most certainly a few standout moments such as the song "Suppertime" performed by Snoopy and "Beethoven Day" performed by Schroeder, but overall, the songs and music were quite forgettable; no one would be caught singing a song from this musical at an audition.

Much like the comic strip and small vignettes on DVD, the play did not really have a plot or a story arc. What motivates the characters? What is the climax or problem of the story? If this Charlie Brown person claims he has no talent and nothing to offer, and throughout the play we see him live up to that expectation, what is the point of watching him or the people in his life? One could reach for a plot in that Charlie Brown is a good man simply because he is so ordinary that it makes those around him stand out even more, even though they aren't particularly fascinating. We could even venture that he's a good man because he truly does no evil, only sort of floats around innocently, keeping to his own. he does good by doing nothing and allowing his friends to be themselves (even at his own detriment). 

The musical was short and sweet, just under an hour run time with over 20 songs. It's a small cast and simple design, and the Lincolnshire Marriot 360 Theatre ensured you saw every minute of the play from any angle. The only real redeeming quality of the show is that children loved it. In its simplicity and sweetness, it found its niche with the children in the audience whose faces lit up when Snoopy started to talk and when Linus sang a ballad to his blanket. Maybe our brains crave more action and drama than Charlie Brown would deliver (he is rather unextraordinary after all), or maybe Charlie Brown doesn't resonate like it did in the 60s and 70s, but nevertheless, it does have some lasting power, reaching out across generations to bring Boomers and Gen Alpha together for a brief moment out of lives. And maybe, just maybe, that was the real purpose of this musical.

You're a Good Man, Charlie Brown is playing at the Marriott Theatre in Lincolnshire and runs through April 1st. Grab the kids and grands and secure your tickets today. 

You’ve got to give Marriott Theatre credit for always swinging for the fences. Just this past year, I’ve seen them put on The Sound of Music and West Side Story, two shows that any audience will know as well as the cast. But that’s because these beloved shows are beloved by audiences, because they are that good. And the Marriott Theatre can always pull it off—putting on great productions of said shows and leaving audiences thrilled in the process—because of the consistency and quality of their casts and their crew.

Marriott’s current production of The Wizard of Oz—an abridged but always charming version “for all ages”—is the theater’s latest big swing. And they do not miss. The audience, truly of all ages, was enthralled for the hour-long runtime, enchanted by the standards that were sung and the famous lines that were delivered, by the immersive Land of Oz allowed by the theater’s in-the-round setup and by the magical characters who live there.

But first, we Dorothy. Earlier this year, Campbell Krausen was a standout in Marriott’s Sound of Music, playing the angsty Austrian near-seventeen-year-old Liesl von Trapp. Now, Krausen finds herself not in the Alps, but in Kansas, and gives a smiling and wide-eyed performance as Dorothy Gale. Once in Oz, Krausen’s drab rural surroundings give way to a colorful world made more so by the cast.

Harriet Nzinga Plumpp has all the haughty cheer that Glinda the Good Witch must possess. Jacquelyne Jones strikes fear into any of us who, as children, watched Margaret Hamilton through closed eyes on the TV screen. Allison Sill’s Scarecrow flops and cavorts like a regular Ray Bolger (Sill also hosted a sweet Q&A session with the audience afterwards). Michael Turrentine’s Tin Man is all heart. And Lorenzo Rush Jr.’s Cowardly Lion is a hoot. Once Kevin McKillip’s Oz steps out from behind the curtain, he too is stellar.

But it’s the ensemble who make this show really special. I have seen Laura Savage in a few shows now—everything from A Chorus Line to Newsies—and each time I’ve seen her, whether she’s headlining or working hard on the chorus line, she’s been the MVP. Here, she does her thing, joining Mandy Modic (who’s also the human and handler of the handsome gentleman playing Toto, Sir Reginald) and Matthew Bettencourt (who’s all Munchkin energy and Emerald City wonder) to become the terrifying twister, the grateful folk of Munchkinland, the Wicked Witch’s enslaved henchmen, and more.

And these people are the reason that Marriott Theatre is able to consistently put on worthy productions of the standards—these talented actors all bring their gifts to the Marriott stage, where they show that they love the Land of Oz and all of its wizardry and wonder every bit as much as the audiences lucky enough to see them perform, here in The Wizard of Oz, through August 7.

The anti-fairytale is something everyone can get behind. Though there have many of these attempts over the years, Shrek is still the stand out, the one that broke the mold, the OG. Now everyone's favorite ogre is back in an  hilarious stage spectacle, based on the Oscar-winning, smash-hit film.

An unlikely hero, Shrek, is determined to reclaim his precious swamp from exiled fairytale misfits with the help of his wisecracking sidekick, Donkey. Together, they find themselves on a life-changing journey to rescue a princess who is locked away in an isolated castle guarded by a fire-breathing, lovesick dragon. Throw in a short-tempered bad guy, a royal wedding, and an evil curse and you've got the kind of mess only true love's kiss can fix!

The musical closely followed the movie, at times nearly line for line, even capturing the original line’s cadence and inflection. But the repetitive was broken up by clever musical numbers such as What’s Up Duloc?’,  ‘I Think I Got You Beat,’ and ‘Freak Flag,’ that enabled the show to stand out on its own. The musical adapted the magic of the play well with a life-sized version of the gingerbread man, a fire breathing dragon, and the stand out of the day, riding a motor-powered horse, Lord Farquaad played perfectly by Steven Strafford. As the actors, stagehands, and technical crews moved throughout the theater and on stage, the audience was transported to Duloq seamlessly.

The green anti-hero first premiered in 2001 and seventeen years later it still holds up in a form that young audiences can embrace and enjoy.

SHREK THE MUSICAL runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $18.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com.

The theater was clad in every hue of pink your eyes have ever seen: baby pink, fuschia, blush, rose, peach, flamingo, ballet slipper, I didn't know that was an official color until an audience member corrected me (I googled it, she's right). My husband and I did not get the memo and dressed our family in yellows and blues of summer. We should have known better. This was Pinkalicious after all, the dress code was not subtly implied. Luckily my daughter sported her pink unicorn shirt and her enthusiastic bouncing in her seat more than made up for the faux pas. After some technical difficulties and an announcement from the director the pinktastic, pinkeriffic, pinktacular show began.

Adapted form the beloved series of children's book by Victoria and Elizabeth Kann, Pinkalicious tells the story of Pinkalicious Pinkerton, a young girl with a penchant for pink cupcakes. Her parents warn her about the dangers of eating too many sweets, but her hunger can't be stopped. One morning she wakes up with pink hair, pink skin and pink clothes - yes, she's come down with pinkititis! It's up to her family to teach her moderation, and get her back to her normal color.

This play was surprisingly enjoyable. The Marriott theater's talented ensemble provided the perfect blend of professional acting combined with the laissez faire air of live children's theater. In short, they don't take themselves too seriously. While the beginning of the play post tech issues was a bit over the top, the lead too fake and utilizing a sickly too high-pitched fake kid's voice, the cast eventually settled into their roles, interacted more with the audience, and performed the second half with an ease and lightness that wasn't forced. The play also incorporated heavier themes like how boys can like pink too, and wove a unique story into the story with catchy numbers like “I got the pink blues,” and “Buzz Off.” At times it was the parents laughing more than the children, which only  the best children's shows can pull off. Overall, the overtly cute gave way to an adorable and simple story filled with good lessons and some one-liners we can repeat to our kids to continually reinforce good habits. That's right, you get what you get and you don't get upset kiddo!

This family friendly musical, which teaches the value of family and healthy living, is an enormous hit. It took off on Off-Broadway and their tour is quickly becoming a local theatre favorite. Every playdate and park trip has someone raving about it as much, if not more, than Hamilton. So get your seats today and  just remember dressing up in pink is highly encouraged! The tour plays Marriott Theatre in Lincolnshire, IL, until August 19, 2018. Tickets can be purchased at http://www.marriotttheatre.com/show/pinkalicious.

I love the theater. Having no talent for acting myself, I venture to see skilled thespians bring stories to life on the stage. My love of theater was fostered from an early age and, as an adult, I want to pass that love onto the next generation and help grow my children’s creativity and imagination. No other playhouse helps to do this quite as well as The Marriott Theater in Lincolnshire, who once again brought a beloved Hans Christian Andersen tale to the stage. Not only was the show delightful, but it kept two toddlers and a four year old entertained for over an hour without disruption. This is no small feat.

The Emperor's New Clothes is the story of fourteen-year-old Emperor Marcus the Third, who is nervous to take the throne. Deciding that he can only gain confidence by dressing in the finest attire, Marcus commands his Royal Clothesmaker to fashion him in the most royal wardrobe. Taking advantage of Marcus' uncertainty and immaturity, a Swindler promises to make magic clothes that are "invisible to fools, liars, and anyone you should ignore," for a large and hefty price. Only Arno, the simple-hearted mop boy, can help Marcus out of this royal mess and teach him an important lesson about outward appearance.

The play was performed with the same campy, over-the-top styling that can only be found in children’s theater, but there was also a genuineness brought to the story through the characters. This was most noticeable in the relationship between Emperor Marcus played by Declan Desmond and Arno, played by Garrett Lutz. The characters dominated the small cast and were at their best in their scenes together. They were genuine without overdoing it, authentic without trying too hard. The young actors’ charisma drew in all audiences and their fun back and forth banter made children giggle and clap with excitement. The actors seemed to genuinely enjoy what they were doing and above all just wanted to make the audience laugh. With so much joy and enthusiasm to their acting it was easy to see why young audiences were completely focused on them.

With quality play selection, wonderful acting, and a cast whose hearts are as young as the audience members’, you have a winning combination for a weekend excursion. Children will hopefully start to love the theater and parents will love an uninterrupted hour where they are not the entertainers.

The Emperor’s New Clothes is a one-hour presentation for kids (and parents) of all ages. All performances are followed by a Q&A session with the cast. The play runs through May 12, 2018 and tickets can be purchased at http://www.marriotttheatre.com/show/the-emperors-new-clothes. Please note: all patrons, regardless of age, need a ticket.

This past week I found myself in a movie theater with reclining seats, an overpriced large popcorn, and a two liter cup of soda all to myself. The movie was awful, but the audience more than made up for the bad comedy. With contagious laughter and witty one-liners, the audience of closet suburban comedians turned the otherwise flat movie into a Second City stage. Sometimes the audience is more entertaining than the scheduled entertainment; that was definitely the case as I ventured out with my 3-year-old-daughter to see SLEEPING BEAUTY at The Marriott Theatre for Young Audiences.

SLEEPING BEAUTY is Marc Robin's musical adaptation of the classic Brothers Grimm fairy tale with some variations. In a kingdom far away, the vengeful sorceress Magenta has placed a wicked curse on the beautiful Princess Amber and only a true love's kiss can unlock the spell and wake her before it is too late. Prince Hunter must battle dragons, scale mountains, and sail the dark sea to save Princess Amber. Will his journey allow him to make it in time to prove his love to his Sleeping Beauty? This captivating fairy tale creates excitement and thrill for its audience as they root for Prince Hunter and the fate of the beautiful princess!

The play was performed with the over-the-top, flamboyant, campy type of performances that can only be found in children’s theaters. Bouncing excitedly in their seats toddlers watched with wide eyes, captivated by the colorful characters and silly antics of the cast. When the cast called on the audience to help Prince Hunter, played by Garrett Lutz, or to reassure Magenta, played by Meghan Murphy, the children responded faster than they answer their parents with a sense of urgency and enthusiasm only seen before bed times. Girls and boys dressed in princess dresses, waving at fairies and hiding in fear from the dragon. They sat on their feet and stood on their seats, craning their little necks to get better looks at their favorite characters on the stage. Rare moments of silence were punctuated with adorable high-pitched “whispers” of reassurance that princess Amber was “just sleeping;” big sisters calming worried younger siblings. With such pure happiness emanating from the seats around us, it was easy to overlook the many issues with the fairy tale narrative (like how a sixteen year old girl gets married after a single kiss or that a princess who is given courage and strength from her fairies is still not smart enough to stay away from a spinning wheel). But fairy tales often impart simple wisdom to impressionable audiences, and as they get swept up in the magic and majesty of the performance it is easy to look past our adult cynicism and just enjoy the show with childlike wonder.

SLEEPING BEAUTY runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $17.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com<http://www.MarriottTheatre.com>.