Displaying items by tag: Paramount Theatre

Of the many Andrew Lloyd Webber hits, Jesus Christ Superstar has always been a personal favorite of mine. It rocks, it moves and…it’s back. After a lengthy absence, the award-winning musical has returned to the Chicago area, this time with a bit of a twist as, unlike past productions, the show features an all African American cast. This, opposed to the nearly all white cast complete with a black Judas that we are accustomed to seeing. And, the tremendously gifted cast works so very well in this revival piece. The change is bold and should be commended. And the execution is nearly flawless. 

With one of the greatest rock operas of all time currently finding its temporary home at Aurora’s Paramount Theatre, we know by the end of the production’s first number, “Heaven on Their Minds”, that Mykal Kilgore, who takes on the demanding role of “Judas”, is a special talent. We also get an idea within the next few numbers (“What’s the Buzz?”, “Strange Thing, Mystifying” and “Everything’s Alright”) how deep the talent pool goes in this one-of-a-kind production.  

Reliving the last days of Jesus Christ leading up to the crucifixion, the timeless musical, which premiered on Broadway on October 12th, 1971, is set to the music of Andrew Lloyd Webber with lyrics by Tim Rice, in what began as a rock opera concept album by the two in 1970. Since, it has been one of the most successful musicals of all time gathering a loyal fan-base from all over the world. In Jesus Christ Superstar, we visit Jesus, accompanied by his disciples and Mary Magdalene, as he performs miracles and brings hope to the world while claiming he is the son of God, much to the chagrin of the Pharisees and scribes who see him as a threat to their teachings – a threat they would like removed so much they ask the Romans for help.

In Paramount’s current production of Jesus Christ Superstar, a fifteen-piece orchestra paves the way for the talented performers who leave their mark in one number after another. Kilgore goes on to navigate through each song with skilled precision and sings with amazing depth. And while Kilgore impresses more and more as the show progresses by staying true (and then some) to the “Judas” that both Murray Head and Carl Anderson made famous, Felicia Boswell is also quick to excite the audience with her moving interpretation of Mary Magdalene, particularly in the popular “I Don’t Know How to Love Him”. Beautiful, graceful and vocally dynamic, Boswell brings a gentle warmth to the role, wonderfully capturing the love that Mary had for Jesus. Throughout the production, remarkable performances are abundant with Rufus Bonds Jr. taking the reins in a very commanding depiction of Pontius Pilate, so well delivering the message of his conflict to have Jesus crucified at the request of the mob that is influenced by the religious law makers or to set him free since no Roman law has been broken. Lorenzo Rush Jr. also leaves a strong presence as the baritone-wielding Caiaphas who leads the charge against Jesus, fearing that he will revolutionize Jewish law. 

Jesus of Nazareth is commendably played Evan Tyrone Martin. Martin aptly captures the virtue and charisma needed for the role of and is convincing while conveying just how tiring it can be to be the son of God. Martin’s voice is strong and he has little trouble carrying the many challenging melodies that come with playing Jesus, though the patented screams that both Ted Neeley (film version) and Ian Gillan (concept album) had incorporated into the role were absent, leaving a couple prime crescendo moments to the wayside. Still, Martin holds his own, even getting a much-deserved extended applause after his riveting performance of “Gethsemane”, a powerful number where Jesus questions why it is that he must die. 

The show’s ensemble is nothing short of amazing, the actors changing back and forth from disciples, to Pharisees to lepers to soldiers ever so efficiently. At one point, Mark J.P. Hood breaks rank from the ensemble as Simon and superbly performs one of the show’s highlight numbers “Simon Zealotes”, where he praises Jesus and urges him to build an army to fight the powers of Rome. Another crowd-pleasing moment (among the countless others) occurs when Jesus is brought forth to Herod (Avionce Hoyles) in a glittery display that dazzles in the somewhat jazzy “Herod’s Song”. Kudos to Hoyles who thrusts the role of Herod into another stratosphere.     

Paramount’s Jesus Christ Superstar is a fascinating production that entertains nonstop from its opening overture to its near-finale number “Superstar”. Featuring a wealth of acting and singing talent and a rockin’ orchestra that does the soundtrack right, this could possibly be one of the most polished, expressive and enjoyable musicals to come our way in some time.  

Superb. This beautiful production is super recommended.

Magnificently directed and choreographed by Ron Kellum with music direction by Tom Vendafreddo, Jesus Christ Superstar is being performed at Paramount Theatre through May 28th. For tickets and/or more show information click here.       

The plot is simple enough. Donna Sheridan raises her daughter Sophie now twenty-years-old, on a Greek island where she runs a small island resort. Sophie, about to get married, wants to be walked down the aisle by her father. Problem is, she doesn’t know who her father is. A bit of snooping through her mother’s diary offers three possibilities, leading her to invite each to her wedding, much to her mother’s chagrin as Bill Austin (Steve O’Connell), Harry Bright (Michael Gillis) and Sam Carmichael (Jeff Diebold) show up to the island where Sophie figures to find out which is her real father. Again, the plot isn’t very complicated. But we do not see Mamma Mia! for its plot, we see it because it’s Abba charged soundtrack is fun, the set and costumes are colorful, the dance numbers are contagious and the show has a good share of laughs. Simple, light and fun - the perfect anecdote to escape from the daily, or not-so-daily, doldrums so many of us endure, if even for two hours and twenty minutes.

Currently running at Paramount Theater in Aurora, we get a production equipped with a slightly different set from the traditional Mamma Mia! look fans have come to known, and it works quite well. Accompanied by a full backdrop flooded with video projections of waves gently making their way to the shoreline and trees with leaves softly blowing in the wind, it’s easy to get lost in the rich island atmosphere. Though the set design limits the larger dance numbers, this production makes it work with its own unique choreography that rivals most other presentations. 

A strong ensemble bolsters a capable cast, the musical numbers strongest during choruses or added backing vocals. Though Amy Montgomery as Donna can carry a tune, her voice is just enough to warrant her taking on the leading role. However, she is often strengthened by surrounding cast members during harmonies, and by the way – the harmonies throughout the show are fantastic across the board! But Montgomery clearly has the personality and charisma for the role, overall making her casting sensible. Donna’s two sidekicks Tanya (Jennifer Knox) and Ali (Sara Sevigny) are wonderfully played, each character getting their respective laughs and admirably tackling their vocal duties. Sevigny truly shines as Ali during her duet with Bill, “Take A Chance On Me” displaying a great sense of comic timing (as well as O’Connell), while Knox hits one out of the park in her gritty number “Does Your Mother Know” showing off her dancing prowess in a heated exchange with Pepper, the young flirt who has eyes for her since her arrival to the island. 

We can easily buy into Dieblod, Gillis and O’Connell as Donna’s three past love interests, each also adding to the production with fine vocal offerings and just the right touch of physical humor. Diebold is no stranger to the role of Sam Carmichael having toured with Mamma Mia! on the Broadway North American Tour.    

Still, you can’t have a successful production of Mamma Mia! without a strong Sophie, and Kiersten Frumkin is just that. Vocally on par for each of her many numbers, Frumkin is able to capture the essence of Sophie, projecting a true sense of wonder, hope and elation into her role, creating a believable twenty-year-old optimist that we can’t help but relate with and root for. 

Though Mamma Mia! is far from a profound life lesson, it does promote self-acceptance in many ways and leaves us with hope that past mistakes can sometimes be corrected, even if twenty years later. 

With one Abba hit after another Mamma Mia! grabs its audience from its opening number “I Have a Dream” and doesn't let go until after its finely built crescendo finale number “Waterloo”, where each seat in the theater is now empty due to its occupants dancing and clapping along with the cast. 

Mamma Mia! is the feel good night out everyone can use to take in some great music and have some healthy laughs that will have audience members wanting to do it all over again. Mamma Mia! is being performed at Paramount Theatre through October 30th. For tickets and/or more show information visit www.paramountaurora.com. 

As Sophie sings along with Bill, Harry and Sam, “Thank you for the music”.

Recommended.