Displaying items by tag: Matt Edmonds

You got trouble, my friends, if you’re going to put on Meredith Willson’s The Music Man.

If you’re going to stage a show that’s been staged ten thousand times since its 1957 Broadway debut—from Hugh Jackman on the stage to Matthew Broderick on the screen to every doggone high school from Clear Lake to Mason City.

A show lovingly recreating an era (Willson was born in turn-of-the-century Iowa) and themes (Willson’s virtuosity on the piccolo found him playing in John Phillip Sousa’s band and Toscanini’s New York Philharmonic) that aren’t quite old enough to be ancient but aren’t familiar enough not to seem dated.

To try and recreate those songs.

“Trouble”

“Till There Was You”

“Seventy-Six Trombones”

To try and attempt to touch the hem of the salesman’s trousers worn by Robert Preston’s Professor Harold Hill—Preston not only originated Hill and played him for much of the original production’s 1,375-show run and the beloved 1962 Hollywood adaptation, he is Professor Harold Hill. Nobody—not any one of those ten thousand (or more) high school or professional actors, not even Hugh Jackman—can be the band instrument-peddling flim-flam man like Preston was and is and always will be.

My friends, if you’re going to attempt all of that… well, you’ve got trouble.

Unless you’re Katie Spelman, who is directing and choreographing Marriott Theatre’s current production of Meredith Willson’s The Music Man. Spelman’s production lovingly embraces and focuses on some aspects of Willson’s original, while avoiding the pitfalls such an iconic show presents. But what this production does best is it knows its strengths, and it leans into them, giving Spelman’s show its own unique flair.

We see the sort of Harold Hill we’re going to spend the evening with right away aboard the train from Rock Island. In most productions I’ve seen, me and the rest of the audience know the first scene’s big reveal, and our eyes remain glued to a particular passenger despite the cast’s best efforts at the syncopated opening number, “Rock Island.” But even though we spot KJ Hippensteel at the back of the train car, we don’t focus on him. Instead, we focus on the enthusiastic ensemble that everyone—Marriott’s in-the-round setup means it’s always the best seat in the house—sees up close and personal and from all angles. Ron E. Rains, all dolled up like a turn-of-the-country fellow, leads the charge, while his fellow passengers run through Spelman’s clockwork choreography. Right away, I was glad to see a familiar face, Michael Mahler, who brought the same charm to each role in this play as he has in many past.

After Hippensteel’s Professor Harold Hill disembarks from the train to River City, Iowa, this closeness and intimacy we felt aboard the train transfers right into town. This production doesn’t try to recreate River City on a Hollywood scale. But it really focuses on certain things and gives us a good, close look at them, which we might not have gotten on the Broadway stage or the silver screen.

The citizens of River City are each and every one unique. And, as they move around the round, allowing us to see each and every one of them, we appreciate the details of each of their costumes (by Raquel Adorno), we appreciate that each one is someone. Particularly charming are youngsters Emily Ann Brooks and Sam Linda, Janet Ulrich Brooks’ Widow Paroo, Elin Joy Seiler’s Amaryllis, Alex Goodrich’s Mayor Shinn, Melanie Loren’s hilarious Eulalie Mackecknie Shinn, and the spot-on barbershop harmonies of the school board quartet (Matt Edmonds, Quinn Rigg, Michael Potsic, and the afore-mentioned Mahler).

Besides the ensemble’s vocal strengths, the singer who really shines is Alexandra Silber as Marian Paroo, the town librarian. No shrinking violet, no old-maid-against-her-will, and not even Mrs. Partridge (although I do love Shirley Jones’ Marian the Librarian), Silber brings her Grammy-nominated vocals to the fore. This production’s brought Julie Andrews-caliber pipes to the party—Silber’s soprano as she sang of “My White Knight” gave me chills.

But while all of these strengths—the ensemble’s skill, the cast’s charm, the performers’ pipes, the theater’s—are recognized and utilized and add up to a unique and charming take on an old favorite, I’ve not yet addressed KJ Hippensteel as Professor Harold Hill. And that’s because, like the production itself, Hippensteel’s Hill reads the room and knows what the room needs, or he knows how to sell the room what the room thinks it needs.

Hippensteel’s Hill doesn’t try to go toe-to-toe with Preston’s over-the-top traveling salesman—he’d have failed like every other Hill since Preston caught his last train ride. But Hippensteel’s Hill knows his own strengths.

He’s city pretty and, while out of place in a place like River City, he’s a curiosity. He’s slippery, slinking around with an easy physicality that sometimes seems to be at twice the speed of the Iowans moving around him. And Hippensteel’s Hill seems like he might just be a nice enough fellow—while Preston’s Hill, played by an actor who up until then had usually played screen villains, is a bad guy you hope could see the light, Hippensteel’s Hill is a good guy who you hope can right the ship after some bad life choices.

But, because this is The Music Man, a show we music theater folks know and love, Hippensteel’s Hill does give us the flourishes, the hand gestures, the hops, the dips, all the pizazz we came into the theater expecting from the professor. However, Hippensteel does it on his own terms, as his own Harold Hill. Just like the entire charming and unique production of Meredith Willson’s The Music Man does, playing now through June 2 at the Marriott Theatre in Lincolnshire.

I am from Miami, Florida and after moving to Chicago there was a time when I genuinely looked forward to the first snow of the year. I’d also wish for snowfall each year to bring us a white Christmas here in Chicago and this lovely production of ‘White Christmas’ at Theatre at the Center brought that joy back into my mind for the first time in years.

The story is about two servicemen, Bob (Matt Edmonds) and Phil (Justin Brill), who become big time entertainers after their army days. From performing in USO shows for fellow military troops during World War II to becoming a featured act on the Ed Sullivan show, the two pals are now looking for a "sister act".  It isn’t long before the two stumble upon Judy and Betty (both played wonderfully by Casiena Raether and Erica Stephan) and wind up not only finding two talented women to perform with but also finding true love. The tale is a timeless one thanks to Irving Berlin's classic music – and this cast does the book and lyrics of Berlin justice.

When Bob and Phil run across their old General, Henry Waverly (Neil Friedman), they happily offer to help out by lending their star presence by performing at his lodge in the hopes of attracting more guests. The retired General is on hard times having sunk his entire life saving into the lodge. Thankfully he has been keeping his head just above water thanks to the help he receives from his ever-loyal lodge hand Martha Watson (brilliantly played by Glory Kissel). It isn’t long before Bob and Phil enlist Judy and Betty and a host of fantastic dancers to put on the show of a lifetime at the General’s lodge. It is nothing short of touching to see the dedication Bob and Phil have towards General Henry Waverly.

I would totally see this production twice just to hear the everlastingly touching “How Deep is The Ocean”:

"How much do I love you? I'll tell you no lie

How deep is the ocean? How high is the sky?

How many times a day do I think of you?

How many roses are sprinkled with dew?

How far would I travel to be where you are?

How far is the journey from here to a star?

And if I ever lost you, how much would I cry?

How deep is the ocean? How high is the sky?"

“Blue Skies” was another showstopper with the entire cast tapping in blue and white to Irving Berlin's classic song about the very real exciting effects of new love taking place on the loving new couples:

"Never saw the sun shining so bright

Never saw things going so right

Noticing the days hurrying by

When you're in love, my how they fly

Blue days

All of them gone

Nothing but blue skies

From now on!"

(from lerft) Erica Stephan as Betty and Casiena Raether as Judy. Photo by Guy Rhodes

There was a palpable chemistry in the humorous courtship between the wry, dry Phil and slightly uptight and business-oriented Betty, which the whole audience picked up on and really enjoyed watching develop scene by scene.

Director Linda Fortunato is wisely able to draw out the fun in her own unique way from each song and also includes a few numbers cut from the motion picture, like "Falling Out of Love Can be Fun,” sung by Martha, Betty and Judy. The song gives the thoroughly modern advice, way ahead of it's time, that if you are heartbroken by one man you can pick yourself up and try again without shame.

"When you've find your lover has gone

Get your second wind and go on

There's an old affair that is there for renewing

In your grief, do you know what you're doing?

Falling out of love can be fun

Soon, you'll be swinging in a hammock on a porch

One arm wrapped around someone else

The other arm carrying a torch

Love can give a lady a clout

And she may be down but not out

Get yourself a date, don't you wait for the count of ten, then

Falling out of love can be fun!"

Talented Artistic Director Linda Fortunato wears multiple hats not only directing this production but providing its dazzling choreography. William Underwood gives this show its musical direction. 

Special kudos must go to Glory Kissel as the rowdy Senior hotel concierge for her entire performance and especially the showstopper "Let me Sing, I'm Happy." Kissel shows the youngsters in the cast just how it's done with her amazing dance and superb physical comedy skills while singing out about the pure Joy of being alive and happy.

The super talented ensemble blows everyone away with one fantastic tap or dance number after another.

It is truly thrilling to watch all those tapping feet moving in perfect unison. Other great numbers include “Heat Wave,” “I Love a Piano” and of course, the title song “White Christmas”, a song that Matt Edmonds sings to perfection as he captures the period so well with both his singing and acting.    

I can't recommend this production highly enough for audiences of all ages who are looking for a happy, fun-filled and joyous celebration of LOVE and of course SNOW, during this cold and oft-strenuous Holiday season. 

‘White Christmas’ is being performed at Theatre at the Center in nearby Munster, IN through December 22nd. For more information visit www.theatreatthecenter.com.

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.

"Attention must be paid," Arthur Miller pleads in his Pulitzer Prize winning play "Death of a Salesman." What is now required reading, "Death of a Salesman" asks its audience to consider the worth of one pathetic old man. The play debuted in 1949, at a time when America was coming out of a war and questioning the value of personal fulfillment. For that theme alone this play will always be relevant. 

The intimate space at Redtwist Theatre makes for an overwhelming experience. In many of the scenes there's an almost voyeuristic feel. As if you're in someone's living room listening to something you shouldn't. Director Steve Scott uses this atmospheric effect to create a palpable intensity. After the lights go out on the final scene, an audience gasped in unison. 

Brian Parry delivers a powerhouse performance as Willy Loman. Both tough and weak at the same time. His Loman is still feisty, making the ending all the more tragic. Jan Ellen Graves' Linda Loman is played calm and collected and rarely sentimental, but lively when the moment is right. Matt Edmonds gives a standout performance as Biff. There are such revelations in Edmonds' interpretation. 

Like Tennessee Williams and Eugene O'Neill, Arthur Miller knew America. He knew the sad and melancholic ways average people live. "Death of a Salesman" should make us uncomfortable. We should bristle at the idea of one average man getting used up and thrown away. It's a warning that if you don't take control of your own destiny, society will toss you aside. Willy Loman skirts through life on quick fixes and delusions. In a way, all of us are Willy Loman and Miller asks us to look beyond the superficial. As "On the Road" had also inspired a younger generation to live life differently than their parents, so does "Death of a Salesman." The moral here is that nobody wants to end up as Willy Loman. 

Through March 5 at Redtwist Theatre. 1044 W BrynMawr 773-728-7529

www.Redtwist.org