Displaying items by tag: Zach Kunde

I arrived at City Lit Theater’s MURDER IN THE CATHEDRAL expecting a heavy, serious, doubtless thought-provoking but rather intimidating major work of literature. By the end of the performance, I wanted to rush out, buy the book and read it immediately. Any production that accomplishes this in three hours must be called a success!

At its most basic level T.S. Eliot’s play is a meditation on Christian martyrdom in a time of great political stress. The quotation from Alexai Navalny, “I’m on the very blackest part of the blacklist,” on the program’s front-page links this theme directly to the times we live in today.  The script was almost entirely in verse (how else would the Nobel Prize-winning poet write a play?) and at many points the extended alliteration and vivacious rhyme remind one of “Skimbleshanks, the Railway Cat,” or “Macavity’s a Mystery Cat, he’s called the Hidden Paw,” and the other wonderful TS Eliot poems that gave us the lyrics to Cats.  

Production operated from many levels. Patti Roeder designed costumes ranging from modern business suits to carefully constructed evocations of medieval garb. The various social classes and estates were delineated, with the Chorus [Sally Olson, Isabel Schmitz, Katarina Bakas, Kara Chandler] representing the working poor of Canterbury while the rich and politically powerful barons were embodied in the Tempters [Sean Harklerode, Varris Holmes, Robert Howard], who doubled as Knights with Fourth Knight Zach Kunde, who also played Messenger.  The Priests of the Cathedral were played by John Blick, Stephen Fedo, and Joel Thompson. As a whole the entire cast was splendid and Paul Chakrin’s fight choreography gave us a bloodcurdling assassination.

Which brings us to Becket himself, masterfully played by James Sparling and appareled with consummate attention to detail. I have no idea what vestments a Roman Catholic archbishop of the 12th Century wore or how his acolytes invested him. I do know what a present-day Anglo-Catholic priest wears and how she vests herself, and costume director Patti Roeder nailed it precisely.

The stage was in the sanctuary of Edgewater Presbyterian Church, and Director [and outgoing Producer and Artistic Director] Terry McCabe presented the play in the (semi) round. The central aisle leading to the stage area in front of an altar table and pulpit was, of course, singularly appropriate, and Mike McShane’s lighting through the stained glass behind the altar had a great effect.  But the most amazing contribution was that of composer Phillip Seward, who set the verses of the four-member chorus (think Greek chorus, not Chorus Line) to haunting music in his world-premiere score.

 The four singer / actresses articulated Eliot’s lines, now lyrics, with great clarity and their four-part harmony was flawless.  As in a Greek play, these chorus members were not characterized in the script, yet their acting ability, as well as subtle cues from their costumes, allowed me to imagine the sort of women they were “in real life” as they went about their arduous daily rounds in the 12th Century city of Canterbury.

The role of the chorus is to propel the plot, and the music – pianist Jacob Adams punctuated by hammered chimes – intensified that effect.  The first act, while intellectually heavy, sped by, and the composer closed with an allusion to a somber, minor key Advent hymn, “O Come, O Come, Emmanuel” – a falling melody line that carries the lyric, “and ransom captive Israel” – a ransom of martyrs’ blood.  

Dialect coach Carrie Hardin’s work with the cast is clearly evident in the British r-lessness, but for the first minutes I wished she’d paid more attention to de-nasalizing the a’s.  However, I soon stopped noticing this. I was particularly intrigued by the choice to portray Becket’s internal conflict as a dialog alternating his middle-class British accent with a working class, almost Cockney style of speech.  

All the performances were strong, but I was particularly impressed with Sparling somehow managing to make Becket not only compelling but also, for me at least, annoying.  Historically, Becket’s assassination was spurred when King Henry II flew into a temper and shouted, “Will no-one rid me of this meddlesome priest?!”  Four of his loyalists took him literally, traveled to Canterbury and, indeed, murdered Becket there in the Cathedral.  How seriously Henry actually meant the comment is unknowable, but I found myself empathizing with his exasperation. 

This reviewer, as it happens, spent 8th grade in England and this period of English history was on that year’s curriculum.  Knowing a bit about the politics of that time was helpful in my understanding the speeches of the first act.  For anyone lacking a middle school level of familiarity with 12^th Century English history, this Wikipedia article covers what Mr. Dowthwaite told us in class.  

Highly recommended!

Playing through June 16 at City Lit Theater.

All my gratitude to Elizabeth Vann for her invaluable assistance in composing this review.

Who will the best speller be? Who will be able to withstand the pressures of competition? Who wants it the most? I’m sure these are among the questions you must be asking yourselves once the play begins. Well, without giving the ending of the story away, I’ll just say that it’s the audience that has the most F-U-N, FUN. 

I thoroughly enjoyed watching this bright, funny and talented cast in Music Theater Works’ brand new production of the Tony Award-Winning musical, The 25th Annual Putnam County Spelling Bee, now being performed in the North Theatre at North Shore Center for the Performing Arts in Skokie. The hit musical, conceived by the mind of Rebecca Feldman is superbly executed thanks to its fine direction and choreography by Christopher Pazdernik, Keeley Vasquez who assists in both said areas, and with music direction by Michal McBride. 

The Putnam County Spelling Bee is exactly what you would imagine happens every year when a collection of the nerdiest, most sensitive and intelligent students from the local county schools come together to face their fears on the big stage to take home the first place trophy for best speller. And, to add a little more fun to this particular spelling bee, it also requires a good amount of improvisational participation from audience members who might just be called down to compete with the students. Even if you’ve seen this play before, there will always be new “cast members“ chosen from the crowd that create unpredictable comedy performed on the spot each night making every experience unique.

The musical, while on one hand provides so many humorous moments, also brings to light the very real pressures of student competition. We see the occasional tears and panic attacks while students compete against each other for a small prize (literally a 12” high trophy and $200 that goes toward future education). We see that winning or not can have big consequences at home and/or in their own psyche. But we also see how competition can bring people together and how it can help us learn about ourselves.

Neala Barron who plays the zealous, rule-following spelling bee supervisor (and one-time winner), Rona Lisa Perretti, pairs up with Zach Kunde who takes on the role of Vice Principal Douglas Panch to conduct the competition. Kunde and Barron have great chemistry together and draw lots of laughs from the audience as they provide the words for the students to spell, along with their definitions, use in a sentence and countries of origin. Michael Davis Arnold plays Mitch Mahoney, the assigned “comfort counselor” who is ready with both a hug and a juice box for the next eliminated student. Arnold and Barron both have tremendous singing voices that stun the audience with their solos in this mostly ensemble piece.  

Will Koski, who plays William Barfee’ has stand-out comic and physical timing comedy as his character finds it necessary to spell out each word with his “magic foot” on the floor. Jamie Dillon Grossman is terrific in her role as the adorable, super intelligent, activist, future Congress-bound Logainne Schwartzandgrubeniere, who is under a tremendous amount of pressure to win because her dads “hate losers”. 

Mai Hartwich is a perfect fit as Marcy Park, the student who is capable of speaking “six languages” but is under a great deal of inner pressure to be perfect in everything she does, which includes winning every spelling bee she enters. Hartwich has a great aha moment during the song “Marcy’s Epiphany,” where Marcy realizes that by deliberately spelling a word wrong and losing the spelling bee on purpose, she’s, in many ways, actually taking back her own power so she relax, have fun and return to pursuing what she really wants to wants to do with her life. 

This is a production where truly the entire cast delivers. Joe Lewis is well cast as cape-wearing Leaf Coneybear while Brandon Acosta tackles his role as Chip Tolentino and shines in his performance of “Chip’s Lament,” a whimsical number about how he was distracted by his “unfortunate erection”. Rachel Guth is a pleasure to watch as she plays the sweet and anxious Olive Ostrosky, an only child whose father does not show up for the spelling bee. With her parents on the go so often, Olive has spent most of her lonely childhood at home alone reading the ancient family dictionary because there was no one around to talk to. During the competition she repeatedly looks to row eight to see if her father has arrived to take the seat she reserves for him. Guth has a strong singing voice and especially displays her vocal talent, along with Barron and Arnold, when they team up for the number “The I Love You Song.”      

Director, Christopher Pazdernik does a great job with the pacing and movement of this bright and breezy production. Pazdernik mentions in the program the life lessons that this play should remind us of - to work hard and be proud of ourselves, but that winning isn’t everything! Also, be kind to others and don’t take life so seriously! The 25th Annual Putnam County Spelling Bee points out that as children and adults we put way too much pressure on ourselves to be perfect - to WIN first place and to impress ourselves and others in our family, and by doing so miss out on the joy of the moments completely.

I wasn’t a spelling bee kid, but I was a thespian competitor in high school and, as one spelling bee student after another had to be eliminated, I couldn’t help but relive my own memories of intense anxiety arising before, after, and during our national thespian competitions - which had no cash prize at all. That being the case, I really related to Michael Davis Arnold’s “Prayer of the Comfort Counselor,” which he knocks out of the park vocally.

I highly recommend this Music Theater Works production of The 25th Annual Putnam County Spelling Bee staged in the lovely and intimate North Stage in the North Shore Center for the Performing Arts for audiences of all ages. 

Have you ever fallen in love – or out of love? Have you ever lost the love of your life only to find the new love is waiting for you right around the corner at just the perfect moment? Have you ever found love when you weren’t even looking for it? In John Cariani’s play, Almost Maine, the audience follows a series of several vignettes that revolves around these questions, each taking place in a small out of the way Maine town that sits under the Northern Lights. Skillfully directed by Susan Gorman, the stories we are presented with are touching, charming and often very funny. While some scenes are more direct in their nature a few are intended for the audience to interpret – leaving myself in a healthy conversation on the way home on where we felt the writer was going. The nice thing about this play is that it relates to just about everyone who has been in a relationship in one way or another, so throughout the performance it was easy to say to myself on a few occasions, yep, I’ve been there…

To successfully pull off its nine heartfelt sketches, this talented cast of four take on the daunting task of playing five-plus roles each – and they absolutely nail it. Cast members, Eileen Dixon, Zach Kunde, Whitney Minarik and Rio Ragazzone each get to show off their wide ranges, particularly impressing with their spot-on comedic timing. The casting couldn’t have been more perfect as all four leave notable performances – and to be fair, I caught the final preview just before opening night.

The creative team does a fine job in staging this production. The set is simple – not much more than a few pine trees thoughtfully moved around a home or establishment entrance for each scene – but it works well thanks to an engaging script that really keeps our focus on each actor so that the set works more as a subtle background that leaves the actors with a wide open, nearly blank canvas, leaving the deeper details of its scenes up to the imagination of the audience.   

In all, I found Almost, Maine an irresistible collection of quaint love stories that touched on every end of the spectrum. Delightful and often laugh out loud funny, Oil Lamp Theater kicks off 2023 with a sure-fire winner that is sure to capture the hearts of so many. Almost, Maine runs through February 26^th. For tickets and/or more show information, click HERE.

Recommended!

*On a side note, it was my first time attending an Oil Lamp production in their Glenview home. Just a short (and easy) drive from Chicago, I found the theater space perfectly sized for an intimate, yet roomy, experience and there isn’t a bad seat in the house. I’d suggest arriving to a show early to check out the charming bar/lounge area that includes loads of comfy seating and the added nice touch of providing cookies for its guests. And with parking just next to the theater, it couldn’t have been a better all-around experience.