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Displaying items by tag: Joe Dempsey

Chicago Shakespeare Theater announces today the full company of Judgment Day, a hilariously irreverent world premiere comedy starring Tony and Emmy Award winner Jason Alexander (Seinfeld) in his Chicago stage debut. Alexander leads a cast that features Daniel Breaker as Father Michael and Candy Buckley as the Angel, along with Maggie Bofill, Olivia Denise Dawson, Joe Dempsey, Michael Kostroff, Ellis Myers, and Meg ThalkenJudgment Day unites the powerhouse comedic talents of Alexander with director Moritz von Stuelpnagel, a Tony Award nominee and leading director of stage comedy, and playwright Rob Ulin, a Golden Globe and Peabody Award-winning television writer. Judgment Day debuts April 23–May 26, 2024, in The Yard at Chicago Shakespeare.

Judgment Day tells the story of Sammy Campo, a staggeringly corrupt, morally bankrupt lawyer who's threatened with eternal damnation by a terrifying angel after a near-death experience. In a desperate attempt to redeem himself, Sammy forms an unlikely bond with a Catholic priest who is having his own crisis of faith. Filled with razor-sharp wit, this deliciously devious comedy rollicks through the timeless questions of Western philosophy—"morality," "faith," and "Are people any damn good?"

Jason Alexander, who stars as Sammy, is best known for his role as George Costanza on the long-running hit TV series Seinfeld, for which he was nominated for seven consecutive Emmy Awards and four Golden Globe Awards. Alexander began his career in the original Broadway production of Stephen Sondheim's Merrily We Roll Along. He won the 1989 Tony Award for Best Actor in a Musical for his performance in Jerome Robbins' Broadway and performed as Max Bialystock in the Los Angeles production of The Producers. Alexander made his Broadway directorial debut last year with The Cottage. His many film and television credits include Pretty Woman, The Hunchback of Notre Dame, Curb Your Enthusiasm, and The Marvelous Mrs. Maisel.

Daniel Breaker plays the conflicted Catholic priest Father Michael. Breaker was last seen in Chicago as Aaron Burr in Hamilton, a role he subsequently performed on Broadway. He also performed in the original Broadway cast of Shrek The Musical, originating the role of Donkey, and won an Obie Award for his leading performance in the Off-Broadway premiere of Passing Strange. Other theater credits include The Book of Mormon and The Performers on Broadway and the Public Theater's Shakespeare in the Park musical production of Love's Labor's Lost. Breaker's television credits include Billions and the Peacock series Girls5Eva.

Candy Buckley appears as the Angel. Buckley has performed on Broadway in Cabaret, After the Fall, Scandalous, and Thoroughly Modern Millie; her many additional stage credits include Lincoln Center Theater's Becky Nurse of Salem, the Public Theater's Shakespeare in the Park production of The Taming of the Shrew, American Repertory Theatre's Hedda Gabler, and The Old Globe's Vanya and Sonia and Masha and Spike. Buckley's film and television credits include The Kill Room, Rare Objects, and WeCrashed.

In the role of Sammy's wife Tracy is Maggie Bofill. Bofill's prolific acting credits include Nora in A Doll's House Part Two at Long Wharf Theater, Between Riverside and Crazy at Second Stage, and The Last Days of Judas Iscariot at the Public Theater. A writer in addition to her work as an actor, Bofill wrote and starred in Devil of Choice, which premiered at the Edinburgh Festival Fringe, and is a member of LAByrinth Theater Company and Ensemble Studio Theatre. Michael Kostroff plays the Monsignor. Kostroff is best known as Maury Levy on HBO's The Wire, in addition to recurring roles on The Blacklist, Billions, The Good Wife, and Law and Order: SVU. He performed in The Nance on Broadway, the first national tour of The Producers, and as Thénardier in the touring company of Les Misérables. Ellis Myers plays Sammy and Tracy's young son Casper. Myers' credits include the film Perpetrator, in addition to voiceover and commercial work. 

Olivia Denise Dawson plays Della, Sammy's faithful, world-weary secretary. Dawson performed in The Comedy of Errors, The Book of Will, and The Tempest with the Illinois Shakespeare Festival's 2023 season and has also worked at Steppenwolf Theatre, Indiana Repertory Theatre, Milwaukee Repertory Theatre, Portland Center Stage, and many more. In the role of Jackson, a cranky and crooked insurance adjuster, is Joe Dempsey. Dempsey returns to Chicago Shakespeare after appearing in A Midsummer Night's Dream and Short Shakespeare! The Taming of the Shrew. Other credits include work with American Blues Theater, Lookingglass Theatre, Steppenwolf Theatre, Goodman Theatre, and many more. Meg Thalken plays Edna, a widow whom Sammy must help in his quest to become a better person. Thalken's Chicago credits include work at Rivendell Theatre, Steep Theatre, Steppenwolf Theatre, Goodman Theatre, and more. She was most recently seen in Becky Nurse of Salem at Trinity Repertory Theatre.

One of the most in-demand directors nationwide, Moritz von Stuelpnagel's credits include the Broadway productions Bernhardt/Hamlet, Present Laughter, Hand to God, for which he was nominated for the Tony Award for Best Director, and most recently, I Need That starring Danny DeVito. Off-Broadway credits include Seared, The Thanksgiving Play, Teenage Dick, Important Hats of the 20th Century, and Verité. Rob Ulin, a Golden Globe and Peabody Award winner who got his start as a professional comedy writer with the legendary Norman Lear, has written and produced acclaimed sitcoms such as Ramy, Young Sheldon, Malcolm in the Middle, Roseanne, and Dinosaurs.

In addition to Ulin and von Stuelpnagel, the creative team includes Scenic Designer Beowulf Boritt, Costume Designer Tilly Grimes, Lighting Designer Amith Chandrashaker, Sound Designer Mikaal Sulaiman, Hair and Make-up Designer Tommy Kurzman, Fight and Intimacy Director Max Fabian, Chicago Casting Director Bob Mason, New York Casting Director Laura Stanczyk, C.S.A., Assistant Director Mallory Metoxen, Assistant Scenic Designer Alexis Distler, Assistant Costume Designer Caity Mulkearns, Assistant Lighting Designer Max Grano De Oro, Production Stage Manager Jinni Pike, and Assistant Stage Manager Mary Zanger.

The press opening for Judgment Day is scheduled for Wednesday, May 1, 2024 at 7:30 p.m.

Judgment Day is the latest opportunity for Chicago Shakespeare audiences to be the first to experience thrilling new theatrical events. A celebrated incubator for new work development, CST has commissioned more than 30 world premieres that have gone on to productions on hundreds of stages around the world. Chicago Shakespeare's artistic team nurtures and empowers theatermakers in crafting new plays, musicals, and adaptations through readings, workshops, and direct support. CST most recently celebrated the sold-out press premiere of Illinoise, which next transfers to Park Avenue Armory beginning March 2. On March 14, Chicago Shakespeare's world premiere musical The Notebook opens at the Schoenfeld Theatre on Broadway, joining CST's North American premiere of SIX, now playing at the Lena Horne Theatre. Also on tour across the US and Canada, SIX garnered the Tony Award for Best Original Score, the Outer Critics Circle Award for Best Musical, and a Grammy Award nomination.

Accessible and enhanced performances for Judgment Day include:

  • ASL-interpretation – Friday, May 10, 2024, 7:30
    All dialogue and lyrics are translated into American Sign Language by two certified interpreters.
  • Open-captioning – Wednesday, May 15, 2024, 1:00 & 7:30
    A text display of the words and sounds heard during a play, synced live with the action onstage.
  • Projected Spanish Translation – Thursday, May 16, 2024, 7:30
    A text display of the words and sounds heard during a play, synced live with the action onstage.
  • Audio-description with optional touch tour –
    Sunday, May 19, 2024, 2:00

    A program that provides spoken narration of a play's key visual elements for patrons who are blind or have low vision. Touch Tours provide patrons the opportunity to experience, firsthand, a production's design elements.

More information at www.chicagoshakes.com/judgment or social media at @chicagoshakes and @judgmentdaybroadway.

Judgment Day will be presented April 23–May 26, 2024, in The Yard at Chicago Shakespeare Theater. Single tickets starting at $45 are on sale now. Special discounts are available for audience members under the age of 35 and for groups of 10 or more. For more information or to purchase tickets, contact the Box Office at 312.595.5600 or visit www.chicagoshakes.com.

Published in Upcoming Theatre

Let’s begin with a children’s story. A children’s story about children’s stories, really.

Long, long ago, there lived a boy who could not decide what he would be when he grew up. He might have grown up to sing songs or tally bills, to right wrongs or treat ills, but he just could not decide. Then one day, the boy met a wonderful enchantress — a creator and a raconteur who herself had vowed never to grow up, and who lived her life telling stories for children. She told the boy that he, too, needn’t ever grow up, for he had been placed in this world for the same purpose as her — to tell tales that enchant children, young and old. And so, the boy did just that for many years until one day, as boys sometimes do, he grew up and went on to smaller, lesser things. And while that ageless enchantress still tells stories to children while the tired, graying boy does not, somewhere deep inside him lurks a longing for that storybook world he left behind, a longing let out now and again when he reads or hears or sees a story told truly and lovingly, told for and to those who have yet to grow up.

I begin with that story because Hans Christian Andersen’s fairy tale “The Steadfast Tin Soldier” was always the gold standard when that boy considered what a true and lovely children’s story is. Lookingglass Theatre’s The Steadfast Tin Soldier, written and directed by Mary Zimmerman, is the rare adaptation of a true classic that’s not only worthy and respectful of its source material, but takes it to new and wondrous places.

Show, don’t tell. That’s perhaps the first rule of good storytelling, and Zimmerman’s production adheres to that maxim. From the curious pre-show goings-on that evoke an advent countdown to both Christmastime and the curtain’s rise, to the inspired puppets and streamers and set pieces that create worlds within worlds on the Lookingglass stage, to the powdered wigs (“That’s Mozart!” my six-year-old cried when she spotted music director and arranger Leandro Lopez Varady take his seat at the piano) and classical instruments that arm the four-piece orchestra tasked with playing Andre Pluess and Amanda Dehnert’s exceptional score, a time and a place and a mood have been created before the story even begins.

Show, don’t tell. For the length of the play, not a word is spoken. I imagine that Ms. Zimmerman drew inspiration from silent movies, as her cast tells the story with what they show the audience — with their actions, with their bodies, with their faces, with their eyes.

John Gregorio and Joe Dempsey are the play’s active, madcap jacks of all trades, filling pointed elven shoes as puppeteers, scene-makers and set-movers, and various roles throughout. Dempsey’s Nursemaid is positively Pythonian in her prissy, proper pomp and posture. And Gregorio’s Rat, one of many parts he plays, adds a sense of gnawing doom and gloom.

As the ballerina, tucked away inside a doll’s house into which the audience is soon invited, Kasey Foster enchants both said audience and the titular tin soldier with her grace and her beauty. But she’s equally charming later on as a rambunctious rapscallion wreaking havoc in the Danish streets.

Anthony Irons’ costumes and props — as a wine-buzzed master of the house, as a masked fairyland creature of questionable species, and as a jack-in-the-box goblin who sets the story’s plot in motion — often capture the eye, but it’s his facial gestures I noticed most. From grins to glares to grimaces, Irons harkens character actors like Don Knotts with his oversized expressions that translate from the stage every bit as clearly as his castmates’ bodily movements.

But it’s Alex Stein’s Steadfast Tin Soldier who’s, quite literally by the end of it, the play’s heart. While the others frolic about, Stein’s one-legged plaything is destined to remain static, so it’s his eyes that show us all we need to know. Above, I wondered if Mary Zimmerman was inspired by the silent movies of yesteryear, and I think it’s Stein’s Buster Keaton-esque ability to tell it all with just one look that got me thinking that way, every bit as much as the entire wordless production did. When Stein’s eyes gleamed, brimming with tears, so did mine.

Perhaps he’s as old fashioned as those silent films of yore, but that boy who’s all grown up now is not a crier. Then this holiday play for kids of any age went and brought him to tears, the same as Hans Christian Andersen’s original children’s story always did. And maybe, just maybe, this children’s story told truly and lovingly will also remind that boy that he hasn’t yet grown up all the way and that there are still children’s stories of his own to tell — stories that delight and inspire, that entertain and touch — just like Lookingglass Theatre’s The Steadfast Tin Soldier is doing from now through January 26.

Published in Theatre in Review

Jules Verne wrote one of the first science fiction novels in 20,000 Leagues Under the Seas, the story of three travelers who find themselves imprisoned on the Nautilus, a submarine captained by the megalomaniacal Captain Nemo. The novel was light on political detail, though Captain Nemo occasionally claimed to use his supremacy in the seas to right wrongs committed on land, especially those perpetrated by colonial powers. Nemo’s reasons were more fully articulated in Verne’s follow-up, The Mysterious Island, elements of which become the framing device for this Lookingglass Production, adapted by David Kersnar, who also directs, and Althos Low (aka Steve Pickering). Ensemble member Kersnar shows a deft hand and strong familiarity with the resources he can muster to bring the undersea world of the novels spectacularly to life, though the attempt to explain Nemo’s vengeful politics weighs the production down.

At its heart, 20,000 Leagues Under the Seas is an entertaining yarn, filled with hair-raising encounters with monsters, encounters made more terrifying by the fact that they take place in the unforgiving confines of the world’s oceans, with their more ordinary terrors. Kersnar and Low have done a remarkable job of bringing this world to the stage, staying true to Verne’s vision while making updates that make the story more accessible to contemporary audiences. One of these is changing the gender of the marine biologist who recounts Nemo’s travels and scientific discoveries. Pierre Aronnax and his aide-de-camp, Conseil, are recast as Morgan Aronnax and Brigette Conseil. This proves to be a strong choice in terms of storytelling, as it makes a little sense of Aronnax’s initial sympathy for Nemo, as both have felt the sting of being underestimated by those in power. The creators have assembled a team of artists and designers who are up to the task of bringing the tour of the seas to the stage. Todd Rosenthal’s set contains a toy-theater proscenium for the wide-angle shots of the ocean, from the sinking of ships to the horrors of the drowning sailors to the view from the windows of the Nautilus. The Nautilus itself is realized as an exterior platform that rises and tilts precipitously as the story demands, and hints at the confinement of the underwater craft that can be accessed only through a small hatch. Costume designer Sully Ratke combines story-telling and function, creating designs that capture the altered states of the characters as their journeys unwind, as well as their backgrounds and social stations. Props by Amanda Hermann avoid getting too steampunk, but capture the Victorian aesthetic of the novel, reminiscent of the original illustrations. However, it is the more ephemeral design elements that really transport the audience to the depths: sound designer Ric Sims and lighting designer Christine Binder immerse the audience in locations from New York City, the decks of various water crafts, to the depths of the seven seas. Floating in this aural and visual landscape are the puppets designed by Blair Thomas, Tom Lee, and Chris Wooten and athletic actors performing Sylvia Hernandez Di-Stasi’s brilliant aerial choreography, which allows the characters to float and dive beneath the waves. The puppets themselves are worth the price of admission: lifelike and magical at once, they float behind and off the stage to invite audience and characters fully into the terrors and wonders of the oceans.

The play begins with a group of refugees from the American Civil War meeting the man who enabled them to survive their escape, Captain Nemo, now older, alone and questioning his prior life as a terror of the seas. It then flashes back to where the book begins, introducing French professor of natural history Morgan Aronnax, who receives a last-minute invitation to join the crew of the USS Bainbridge, under Captain Farragut, who is commissioned to seek and destroy whatever is terrorizing the seas—be it craft or creature. Aronnax postulates a giant narwhal in a scene that brilliantly establishes her character and her position vis-à-vis her male colleagues. Kasey Foster does an admirable job of injecting charm into the generally no-nonsense and humorless professor, who is almost as single-minded in her pursuit of knowledge as Nemo in his pursuit of vengeance and domination. Kareem Bandealy is hampered by a script that does not allow him to fully realize the zealous evil of Nemo—despite his powerful presence and overbearing bluster, he gets bogged down in the scenes that switch to introspection and long-winded revelation. Scenes that allow him to do this while perpetrating acts of terror (the sinking of a naval vessel, for example) serve the plot much better than dinner time polemics and elegiac remembrances of his role in the Great Mutiny of 1847, which led to the losses that spurred his vengeance against imperialism. Rounding out the quartet that forms the center of the narrative are Walter Briggs as the cheeky Ned Land, a harpooner brought on board the Bainbridge to help destroy the monster responsible for the deaths of so many sailors, and Lanise Antoine Shelley as Conseil. Briggs brings the right balance of swagger and empathy to his role, and Shelley makes a good audience foil for the occasionally delusional professor, pointedly and humorously reminding her of the realities of their positions as women in a male world, and then as prisoners (not guests) of the mad Captain Nemo. Nemo’s “guests” also prove themselves to be up to the physical challenges of taking on human and cephalopod foes (Shelley has a brilliant and harrowing encounter with the latter). The rest of the cast—Thomas J. Cox, Joe Dempsey, Micah Figueroa, Edwin Lee Gibson and Glenn-Dale Obrero--provide some of the most striking moments of the evening and fill the stage with a multitude of supporting characters. Cox anchors the crew of Civil War wanderers and helps flesh out the alternate narrative. Joe Dempsey makes an impression as Pencroff, whose gratitude towards Nemo fuels his understanding and as the surprisingly open-minded and humorous Captain Farragut. Edwin Lee Gibson brings stalwart nobility to Cyrus Smith, one of the men who encounters Nemo in the first scene, and a roguish pragmatism to the self-serving constable who allows Ned Land to board the U.S.S. Bainbridge with a little persuasion from the Captain. Micah Figueroa and Glenn-Dale Obrero also fill the ranks of the Civil War escapees (with a humorous turn from Figueroa as the naïve Harbert), as well as handling the bulk of the fighting and diving, including an amazing sequence of pearl diving that captures the best of Lookingglass’s take on Verne’s novel—providing spectacle and social commentary in a seamless melding of physical theater, puppetry and characterization.

It’s not perfect, but 20,000 Leagues Under the Seas has enough to satisfy young (tweens and up) and old. Though it tries valiantly and not always successfully to engage with the political themes of human rights and colonization, ultimately it is buoyed by a strong sense of good old-fashioned story-telling. The breathtaking special effects, aerial dance, puppet magic, and a committed and capable cast who can match the acting and physical demands of the spectacle more than make up for some ponderous philosophical ballast. There is enough food for thought to inspire conversation, but the focus, as it should, remains mostly on the undersea journeys of the Nautilus and its willing and unwilling crew members’ battles with Kareem Bandealy’s power-hungry Nemo and the natural perils of the seas. It is well worth hopping on board to witness the sea battles, sea spiders, fish, squid and other undersea wonders dreamed up by Lookingglass’s team, under the assured direction of David Kersnar.

20,000 Leagues Under the Seas runs through August 19, 2018, at Lookingglass Theater, 821 N. Michigan. Performances are Wednesdays-Sundays at 7:30 pm, and Sundays at 2:00 pm. For tickets and more information, visit www.lookingglasstheatre.org or call 312-337-0665.

*Extended through August 26th

Published in Theatre in Review

Put acting greats Francis Guinan and John Mahoney on stage together and you undoubtedly get a performance that will certainly mesmerize. Add Jessica Dickey’s poignant script that delves into history and what we can take away from it, keen direction by Hallie Gordon and fine supporting performances from Ty Olwin, Karen Rodriguez and Gabriel Ruiz and you have a power-packed production that truly resonates with its audience. Steppenwolf’s latest, The Rembrant, is just that.

Guinan stars as longtime art museum guard Henry. A lot is going on this particular day. Henry’s boss Jonny (Ruiz) has just hired a new guard named Dodger (Olwin) and Henry needs to show him the ropes. The young, mohawk-wearing Dodger clearly isn’t in the same mold as his new mentor Henry and when art student Madeline admire a Rembrant before sketching it, the new guard encourages her to “touch the painting”. “Touch it”, he says, “feel the history.” Upon Henry’s return, he gazes at the same painting, one he has admired for years, Dodger urges him to do the same. Of course, this is absurd, thinks Henry. But Henry is troubled, his husband slowly dying from cancer. He has been a loyal guard for years. He wants so badly to touch the Rembrant – to feel the brush strokes. So, he does.

Once Henry feels the canvas, we are taken back in time to the life of Rembrant (also played by Guinan). We see the strong bond he has with his son Titus (Olwin), a son who wants nothing more to be by the side of his father. Dickey makes a valiant effort in encompassing the thought process behind Rembrant’s paintings. In one painting a man has a large hand and a small hand. This we learn is to keep father and son together forever, one hand belonging to Titus, the other to Rembrandt. The period is well-played and Guinan at the top of his craft.

Then emerges Homer, played wholeheartedly by Mahoney. Homer reminds us death is imminent for all of us. Though the time and the how unknown, the certainty for sure. It is a riveting dialogue that profoundly makes its way throughout the theatre prompting us to think about enjoying the gift of life while we can. We are also reminded of Mahoney’s powerful stage presence.

The play goes full circle, Henry by the side of his husband Simon (Mahoney) as they reminisce about the past, cherishing fond memories and exchanging their feelings for one another in a sad, but moving scene that adds an exclamation point to a very engaging story.

Guinan is sensational. However, he will take leave of the role after the October 22nd performance. Talented Chicago actor Joe Dempsey will reprieve Guinan and take over the role of Henry and Rembrandt as of October 24th. Inventive set design, wonderful acting performances and an engaging story, The Rembrandt is a warm production that connects the present to the past in a very creative way.

Recommended.

The Rembrandt is being performed at Steppenwolf Theatre through November 5th. For tickets and/or more show information visit www.steppenwolf.org.

 

*Extended through November 11th

Published in Theatre in Review
Sunday, 15 February 2015 00:00

Review: Samsara at Victory Gardens Theatre

Lauren Yee's new play at Victory Gardens Theatre is a refreshing addition to the modern canon of American playwriting, in the ilk of Sarah Ruhl and Noah Haidle. 'Samsara' was developed by Victory Garden's annual Ignition festival, a contest seeking minority voices.

 

Yee takes a meta-theatrical look at the world of surrogacy in turns of comedy and disturbing practicalities. The style in which this story is told is its most unique quality. With the prevalence of MFA playwriting programs, more often we're seeing stories being told in non-traditional formats. Sometimes that includes talking fetuses and our inner monologues manifesting themselves in character. Is this the future of theatre? If so, how exciting.

 

In 'Samsara' couple Craig and Katie (played by Joe Dempsey and Lori Myers) are desperate to fix the rut in their life with a baby, only they can't have one themselves and can't afford the myriad of domestic options. Instead they outsource to India, as so many corporations are want to do these days. Katie's fear of travel prevents her from going to India so she sends her bumbling husband while she stays home and has an affair with her fantasy man who happens to be a construct of her imagination. The factory surrogate, Suraiya (Ayra Daire) also seems to be in a bit of a rut, hoping to use her baby-money for medical school. She begins a relationship with her unborn fetus whom she affectionately refers to as Shithead. With all the unspent energy of an annoying toddler, Behzad Dabu as the fetus, gives the show's most lively performance.

 

On the whole, the plot and thematic events of the show are not unchartered territory but it's the way Miss Yee tells her tale that makes this an unforgettable experience. She has a special talent for incorporating the everyday with the fantastic, illuminating the deepest doubts and regrets of our minds in a way that's uplifting and topical. Perhaps Yee's interpretation of samsara is that everything happens for a reason in this cycle of life. 

 

Samsara at Victory Gardens Theatre. 2433 N Lincoln Ave. 773-549-5788. Through March 8th. 

 

*Photo by Michael Courier

Published in Theatre in Review

Having never seen this show, five minutes in I felt that I was really going to enjoy myself. Twenty minutes later, I knew that fifteen minutes ago I was correct in feeling so. As the minutes into the show increased, The 25th Annual Putnam County Spelling Bee only got better and better.

The show, set in a high school gymnasium, starts with a janitor nonchalantly setting the clock on the scoreboard to a countdown while the house lights are still on and people are searching for their seats. Those already familiar with the show release scattered cheers knowing that show time is just around the corner. Sure enough the buzzer sounds as the theatre darkens and our attention is directed to a high school teacher who is clearly reminiscing about her days as a spelling bee champion. We are then introduced to the high school vice principal, a community service volunteer and a collection of nerdy, overachieving and socially awkward competitors and the cast breaks into the title song. Ms. Peretti then addresses the crowd from a center stage microphone and calls out for four other contestants who are randomly selected from the audience. The spelling bee begins.

The 25th Annual Putnam County Spelling Bee brilliantly parodies many of the distinguishing nuances of actual spelling bees, lightheartedly poking fun at the process and those involved while at the same time becoming a tribute that shows the dedication, intelligence and pressures involved. As each contestant approaches the microphone, Ms. Peretti reads aloud a fun factoid (often to the utterly ridiculous) about them. Vice Principal Panch reads the word to be spelled then, if asked, provides the language of origin, its definition and how it can be used in a sentence, which was always a hilarious highlight.

SPELLING-BEE-Zach-Colonna-

Playing Vice Principal Douglas Panch was Joe Dempsey who could be funny literally doing nothing at all. With a penchant for superior comic timing, northsiders, like myself, are very familiar with Dempsey’s talent to draw laughs as a Neo-Futurists alumn and his work in many other Chicago theaters. The exceedingly gifted Frances Limoncelli was also just terrific in every sense of the word as Rona Lisa Peretti while each and every cast member playing a contestant brought their own unique humor to the table providing a bus load of hoots and hollers to be had for a full night of entertainment.

Let’s not forget about the music. From the “I Love You Song” to “My Unfortunate Erection” to “Magic Foot” to the goodbye’s that were sang whenever a contestant was escorted off stage, we are never shorted of fun, catchy and witty songs.  

Nerd or not, The 25th Annual Putnam County Spelling Bee is deliciously delightful from beginning to end and will be playing at Drury Lane Theatre in Oakbrook through August 17th. For tickets and/or more show information visit www.drurylane or call 630-530-0111. 

Here's hoping I did not spell any words in this review incorrectly.

* Top Photo - (L to R)(Back Row)-Stephenie Soohyun Park, Jordan DeLeon, Guest, Zach Colonna, (Front Row)-Guest, Eli Branson, Carolyn Braver

*Below Photo - Zach Colonna, (Back Table)-Frances Limoncelli, Joe Dempsey

Published in Theatre in Review

 

 

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