Theatre

Ken Payne

Ken Payne

After a delay in touring due to singer Bruce Dickinson’s bout with cancer, Iron Maiden has finally returned to the Chicago area in tour of their 2015 release, The Book of Souls. Now, fully recovered, Dickinson and company performed in front of a packed crowd at Tinley Park’s Hollywood Casino Amphitheatre along with opening act Ghost.


The concert itself was a mixed bag. It was exceptional in the sense that Dickinson’s vocals were crisp, strong and delivered us to vintage Maiden-dom as only the signature sound of the collective band can possibly do. The 58-year-old Dickinson seemed in prime form vocally and even physically. Guitarists Dave Murray and Adrian Smith were riffing as though it were 1985 and madman bassist Steve Harris plucked away at his instrument while channeling the energy of an eleven-year-old kid. Nicko McBrain was still Nicko McBrain, bashing the cans with complexity and power laying down the foundation for each song along with fellow rhythm-mate Harris. Yes, the band was on. So…what was the problem?


Two things.


Janick Gers (whom I have the utmost respect for his musical ability) doesn't really fit in with an Iron Maiden progressive metal live show – at all. Joining the band in 1990 to help finish No Prayer for the Dying after Smith’s brief departure over musical differences, Gers can no doubt play the part musically, but his stage presence makes us think that we may have entered a Poison concert by mistake. While energy-filled Dickinson and Murray run around the stage, it’s just that – running around the stage from end to end, Harris’ head thrashing about and Dickinson just being the cool front man we associate with a serious metal band like Iron Maiden. Gers side-to-side hair flinging, goofy high steps, kicks (reminiscent to the band Kix), guitar spins and cheesy dance moves would have been great – if Iron Maiden was a 1980’s hair band, but they’re not. They’re Iron Maiden. (Sorry Gers fans, I know he's talented but do they even need three guitar players?)


The other issue with The Book of Souls concert (at least the one in Tinley Park) was that the set list. Though The Book of Souls sold well and gave Iron Maiden their highest boost in some time, the band’s current set list was far too dependent on their latest studio release. With six of the fifteen songs coming from The Book of Souls album, fans who went in the hopes of hearing as many Maiden classics as possible were shorted. Left to the wayside were greats such as “Two Minutes to Midnight”, “Aces High”, “Run to the Hills”, “Flight of Icarus”, “Heaven Can Wait”, “Running Free”, “Can I Play with Madness”, “The Wicker Man”, “Flash of the Blade” and so many more. Now, naturally a band that has spanned for five decades that has produced so many amazing songs cannot be expected to cram every hit into a two-hour set, but playing just two or three songs from The Book of Souls would allow for a few more greats that Iron Maiden loyals would certainly appreciate jamming along with.


So that was the disappointing. Now for the good.


As stated prior, musically Iron Maiden was on top of their game. As expected (and always hoped for), the band’s mascot Eddie made a couple appearances, one as he walked across the stage dwarfing over Murray, Smith and Harris while Gers ran between his legs eluding the creature’s grasp until Dickinson fought and defeated the beast parading his severed heart high into the air for the crowd to see, meeting his victory with bloodthirsty cheers. Later an even larger Eddie peered from behind the drums as the band went into “Iron Maiden”.


Iron Maiden classics were sprinkled in throughout the set as Dickinson donned a British coat from the Revolutionary war while waving the flag of his homeland during “The Trooper”. The singer also surveyed the crowd to see how many fans were born after 1982, the year “Children of the Damned” was released, nearly half the hands in attendance being raised as the band went into the song.


Dickinson also made a heartfelt tribute to late actor Adam West, who he called a childhood hero and an inspiration.


Iron Maiden finished strong with a three-encore power play starting off with “The Number of the Beast” before going into “Blood Brothers” and delivering the knockout blow with “Wasted Years”.


Make no mistake. Iron Maiden still rocks and can deliver a fully entertaining arena show infused with enough metal to satisfy the most hard core of fans. Hopefully, the band’s set will have more songs that truly define Iron Maiden as most know their next time around. And there will be a next time around, as Dickinson altered the lyrics in “Number of the Beast” to “We will return (Chicago)!”.


Iron Maiden set list at Hollywood Casino Amphitheatre in Tinley Park June 15th 2017


If Eternity Should Fail
Speed of Light
Wrathchild
Children of the Damned
Death or Glory
The Red and the Black
The Trooper
Powerslave
The Great Unknown
The Book of Souls
Fear of the Dark
Iron Maiden
Encore:
The Number of the Beast
Blood Brothers
Wasted Years

 

Let’s welcome in summer and enjoy the history of Hubbard Street Dance Chicago at the Harris Theater with a collection of eight dances of varying styles and intriguing music. Pieces old and new, reworked and original amazed one after another including Lucas Crandall’s (Imprint - Duet), William Forsythe’s (reproduction of One Flat Thing), Alejandro Cerrudo’s (One Thousand Pieces - Water Section), Jim Vincent’s (Palladio), Crystal Pite’s (A Picture of You Falling), Twyla Tharp’s (The Golden Section), and Lou Conte’s (Georgia and the 40’s).

This historical glance 40-year glance at the iconic dance company brings forth a walk through time and the growth of Hubbard Dance. Lou Conte’s romantic summer love of ‘Georgia’ was originally premiered in 1987 as part of “Rose from the Blues” and makes you ache for the loss of summer love. Even more history is bestowed upon the crowd with the happiness, creativity of the 40’s, also by Conte. Infusing big band music, 40’s style dance, jitterbug moves and the feeling of the celebrations of old Hollywood, the piece is truly a joy to watch.

“The Golden Section” choreographed by Twyla Tharp/Tharp Project, in its golden velour and unabashed 80’s energy that had originally been performed on Broadway in 1981, brought a liveliness and fun to the stage. The enthusiasm and vibrancy had audience members bobbing their heads and giggling along with the sheer fun of the dancer’s movement and energy.

Something for everyone, Hubbard Street’s Summer Series 39 will truly grab your attention with the loving duet of “Imprint” by Lucas Crandall and romantic “Palladio” by Jim Vincent. Theater goers will fall under the mesmerizing spell of the smokiness and ethereal beauty of ghostlike figures and sounds of water in “One Thousand Pieces” by Alejandro Cerrudo. Children and adults alike will be enthralled with the chaotic energy of “One Flat Thing”, in awe of the dancer’s abilities to move between, over, under and through the flat things with such speed, grace and fluidity.

Beautiful and graceful, “A Picture of You Falling” by Crystal Pite will capture the audiences’ attention from start to finish, leaving you out of breath, and wondering, if this is how it really will be in the end.

Through a night of innumerable feelings and experiences, this historical journey into the past of “Hubbard Street Dance at 40”, was a thrill for all families and fans of dance. So very few places can provide such a complete feeling of history and nostalgia while also inspiring all of us to see what the future will bring.

Hubbard Street’s Summer Series 39 was performed at the Harris Theater for Music and Dance. For more information on this amazing dance company and to see future events, visit www.HubbardStreetDance.com.

 

Wednesday, 07 June 2017 21:27

Griffin's "Ragtime" Done Right

In 1996 Ragtime made its stage debut in Toronto and a year later it found itself making waves on Broadway. Based on the 1975 novel by E.L. Dotorow, the musical, with a book by Terrence McNally, lyrics by Lynn Ahrens and music by Stephen Flaherty, kept gaining momentum winning thirteen Tony Awards in 1998. Now, to close out its 2016-2017 season, Griffin Theatre Company reimagines the modern classic, thanks to the creative minds of director Scott Weinstein and Matt Deitchman, who adds new music orchestrations to the mix.


Taking place in New York City, Ragtime takes us back to the turn of the century, beginning in 1906, where three families who couldn’t be more different are followed – a young African American couple, a recently immigrated Jewish father and daughter and a privileged white family. As the story unfolds, the families come across one another, but in doing so, and along the way, we see the vast difference in treatment each receives as Ragtime touches on social justice, race relations and immigration. With plenty of parallels in today’s America, Ragtime serves as not just an entertaining musical, but also as a lesson to which we can all learn from.


Throughout the story we also meet a handful of influential historic figures including Henry Ford, Harry Houdini, J.P. Morgan and Booker T. Washington and are reminded of the impact each had made in a rapidly changing America.


Filled with many lively characters such as Coalhouse Walker JR (admirably played by Denzel Tsopnang) who brings "ragtime music" alive with his jazzy Harlem-styled piano playing and Tateh (played with great zest and sentiment by Jason Richards), the colorful Jewish immigrant who just wants to build a life for his daughter, this is a musical that constantly keeps one engaged.


Katherine Thomas makes quite an impression in her debut for Griffin Theatre as Coalhouse Walker’s love interest Sarah particularly shining in numbers “Your Daddy’s Son” and “President”. Laura McClain as Mother also impresses and moves the house during her rendition of “Back to Before”. Other standouts performances include Joe Capstick who undertakes a handful of roles including Houdini, Frederick Harris as Booker T. Washington, a very funny Caitlin Collins as Eveyln Nesbit and an ensemble that truly delivers in every way.


Imaginatively staged at Den Theatre’s Main Theatre, the venue holds a new look as it is transformed into a theatre in the round, the audience surrounding the action. A ragtime band is present throughout the show, two pianos, a clarinet (Dan Hickey) and an occasional flute to giving us a newly-orchestrated chamber version behind the music direction of Jermaine Hill and Ellen Morris, each of whom mans a piano throughout.


There is a reason that Ragtime has won so many awards and has been revived so often by numerous theatre companies. Simply put, the music is outstanding, it’s story is educational as it is entertaining and its message is timeless. Griffin Theatre does justice to this definitive production putting forth a commendable cast, an inviting set, polished music production and lighting and spot on costumes that throw the audience back in time to 1906.


Recommended.


Ragtime is being performed at Den Theatre’s Main Stage through July 16th. For this quality production tickets are a bargain at just $39. For tickets and/or more show information visit www.griffintheatre.com.

It’s the wild 1930’s in Berlin and it’s anything goes at the Kit Kat Klub where an impish Emcee feasts on making the haunt as alluring as possible to its guests. He loves the boys, he loves the girls and he loves the orchestra. Headliner Sally Bowles leads the cabaret dancers in the playful club where one can phone table to table if interested in another. Bowles is brassy, commanding and she flat out belts, leaving little doubt who runs the show. This is quickly evidenced in her racy opening number “Don’t Tell Mama”. It is a place of decadent carnival where boundaries do not exist and guests are endlessly entertained by its sexy performers. 

American writer Cliff Bradshaw soon arrives via train ride where he meets new friend Ernst Ludwig. The two quickly hit it off. While getting to know each other, Bradshaw reveals he is looking for a place to stay, so Ludwig recommends a boarding house run by Fraulien Schneider. Searching for inspiration for his second novel, Bradshaw visits the nearby Kit Kat Klub where he is opened to a world he never knew existed. 

While Bradshaw and Bowles get to know each other (and then some), Herr Schultz, an elderly German, regularly visits the boarding house where he shows his affections for Schneider by bringing her fruit from the nearby produce store that he owns. Soon Schultz and Schneider agree to marry, while Bowles and Bradshaw become cozier, the two now living together. The club is thriving and all seems well in 1930’s Berlin. 

But the shadow of the Nazi regime is gradually becoming much more apparent. Slowly, the danger of a growing Third Reich is affecting Berlin. Gradually, the carefree mood of many Berlin residents becomes that of one awaiting impending doom. Some sense a mounting tragedy afoot and fear a change for the worse in Germany. 

Yet, the threat is still in its infancy stage, whereas Schultz, a Jew, naively states, “Everything will be fine. After all, I am a German.” At the same time, Schneider fears her association with Schultz will put her business under as the hatred against Jewish-Germans becomes more apparent. 

Cabaret is the gripping account of how a circle of friends and businesses in Berlin are overcome by the inevitable Nazi threat, from the story's hopeful beginning full of modernization and progressive views to its haunting end. 

The production is seamlessly woven together. Throughout the musical, there is an ongoing collocation of dialogue scenes and songs that serve as explanation to the story while a series of distinct cabaret numbers provide a public observation for the times. 

Cabaret continues to attract both new audiences and return visitors more than fifty years after its initial Broadway production, because it has everything – fascinating characters, iconic music, a dazzling look that transports us to a different world that is still incredibly timely and relevant today,” says Artistic Director Linda Fortunato.

Her statement couldn’t bear more truth as the production has won eight Tony Awards, including Best Musical and Best Original Score. 

The casting in Theatre at the Center’s Cabaret is very strong. Danni Smith, who recently impressed theatre goers in the leading role of “Donna” in Marriott Theatre’s Mamma Mia! is sensational as Sally Bowles. Smith’s robust, velvety vocals along with just the right air of confidence make for yet another successful leading role for the fetching stage star. Smith’s astounding performance alone is worth the ticket cost and drive to Munster, Indiana. Yet, the same impressionable effect on the audience can be said for co-lead Sean Fortunato as the mischievous Emcee, who is a pure delight to watch as he captures a changing Berlin within his character most effectively through a well-acted gamut of emotions. We watch on as the whimsical Master of Ceremonies is sincerely affected by what he recognizes is the beginning to the end of an era, yet we see his strength as he bravely presents an amusing appearance for his club-goers to distract from the imminent threat. 

Patrick Tierney (Bradshaw), Craig Spindle (Schultz), Iris Lieberman (Schneider), Christopher Davis (Ernst) and a very capable ensemble round out this talented cast that help in creating a magical Cabaret experience, along with an extraordinary creative team that so well brings the period to life. 

Based on a book written by Christopher Isherwood, with music by John Kander and lyrics by Fred Ebb, Cabaret is loaded with wonderful show tunes that include “Perfectly Marvelous”, “The Money Song”, “Married”, "Willkommen", “If You Could See Her” and Bowles highly-charged title song “Cabaret”. 

Well-constructed, finely acted and beautifully sung, Cabaret is an epic theatre experience not to miss.   

Cabaret is being performed at Theatre at the Center (1040 Ridge Road, Munster, IN) through June 4th. For show times, tickets and/or more show information, visit www.TheatreAtTheCenter.com

 

Victory Gardens Theater announces the lineup for the Up Close & Personal Series, running April 27 – June 4, 2017. The Up Close and Personal Series includes A Little Bit Not Normal, written and performed by Arlene Malinowski; St. Jude, written and performed by Ensemble Playwright Luis Alfaro; and Where Did We Sit on the Bus?, written and performed by Brian Quijada. Shows in the Up Close & Personal Series will run in rotating repertory in the Richard Christiansen Theater at Victory Gardens Theater, 2433 N. Lincoln Avenue.  

 

Individual tickets to each production are $20, or a three show package, including a ticket to each production, is $40. Both are available through the box office at 773.871.3000 or online. With every ticket purchased, Victory Gardens Theater will provide one free ticket to a Chicago Public School student. For a complete performance schedule or to purchase tickets, visit www.victorygardens.org.

 

"We're thrilled to welcome Luis, Arlene and Brian back to Victory Gardens for our Up Close & Personal series this spring. Each of these remarkably personal stories are written and performed with humor, poetry and courage,” comments Artistic Director Chay Yew. “Now, for six weeks only, these national and Chicago artists will share their most intimate struggles and triumphs of family, hidden disabilities and immigration through performance."

 

About the Up Close & Personal Series

All performances take place upstairs at Victory Gardens in the Richard Christiansen Theatre. A calendar of the performance schedule can be viewed online at www.victorygardens.org.

 

A Little Bit Not Normal

Written and Performed by Arlene Malinowski

Directed by Lisa Portes

3:00 pm: April 29; 13, 14, 27(ASL Interpreted)

7:30 pm: April 30; May 3, 5, 6, 10, 12, 20 (ASL Interpreted), 21

 

 

With her trademark humor, Arlene confronts her own state of mind when Depression walks into her kitchen, lights a cigarette, and makes himself at home. A Little Bit Not Normal is a serious comedy about depression and naming it, claiming it, and standing to be counted. It’s the journey of a love story tested and the secrets we keep about crazy.

 

St. Jude

Written and Performed by Ensemble Playwright Luis Alfaro

3:00 pm: May 21, 28, June 4

7:30 pm: May 17, 18, 25, 27; June 1, 2, 3

 

 

Award-winning Victory Gardens Theater Playwrights Ensemble member Luis Alfaro (Mojada, Oedipus el Rey) returns to Chicago to perform a new version of his emotionally charged solo work. St. Jude takes us on a personal and powerful journey with Luis as he learns of his father’s stroke and is summoned home to the California Central Valley of his childhood. As his family gathers, Alfaro conjures memories of his youth; from picking grapes, to gospel-infused big tent revivals, from family celebrations, to running away from home. In Alfaro’s words, St. Jude takes us from “who I am” to “who I was.”

 

Where Did We Sit on the Bus?

Written and performed by Brian Quijada

Directed by Chay Yew

10:00 am: May 3, 5, 10, 12, 19

3:00 pm: April 30; May 6, 20; June 2, 3

7:30 pm: April 27, 28 29; May 4, 11, 13, 24, 26, 28, 31, June 4

 

 

The multi-2016 Jeff Award winner Where Did We Sit on the Bus? is an electric one-man show pulsing with Latin rhythms, rap, hip-hop, spoken word, and live looping. During a third grade lesson on the Civil Rights movement and Rosa Parks, a Latino boy raises his hand to ask, “Where did we sit on the bus?” and his teacher can’t answer the question. This thrilling autobiographical production examines what it means to be an artist and a son of Latino immigrants through the eyes of a teenager.

 

Production Sponsor: The Wallace Foundation

 

About Victory Gardens Theater

Under the leadership of Artistic Director Chay Yew and Managing Director Erica Daniels, Victory Gardens is dedicated to artistic excellence while creating a vital, contemporary American Theater that is accessible and relevant to all people through productions of challenging new plays and musicals.  Victory Gardens Theater is committed to the development, production and support of new plays that has been the mission of the theater since its founding, set forth by Dennis Začek, Marcelle McVay, and the original founders of Victory Gardens Theater.

 

Victory Gardens Theater is a leader in developing and producing new theater work and cultivating an inclusive Chicago theater community. Victory Gardens’ core strengths are nurturing and producing dynamic and inspiring new plays, reflecting the diversity of our city’s and nation’s culture through engaging diverse communities, and in partnership with Chicago Public Schools, bringing art and culture to our city’s active student population.  

 

Since its founding in 1974, the company has produced more world premieres than any other Chicago theater, a commitment recognized nationally when Victory Gardens received the 2001 Tony Award for Outstanding Regional Theatre. Located in the Lincoln Park neighborhood, Victory Gardens Biograph Theater includes the Začek-McVay Theater, a state-of-the-art 259-seat mainstage and the 109-seat studio theater on the second floor, named the Richard Christiansen Theater.

 

Victory Gardens Ensemble Playwrights include Luis Alfaro, Philip Dawkins, Marcus Gardley, Ike Holter, Samuel D. Hunter, Naomi Iizuka, Tanya Saracho and Laura Schellhardt. Each playwright has a seven-year residency at Victory Gardens Theater.

 

For more information about Victory Gardens, visit www.victorygardens.org.  Follow us on Facebook at Facebook.com/victorygardens, Twitter @VictoryGardens and Instagram at instagram.com/victorygardenstheater/

 

Victory Gardens Theater receives major funding from The Wallace Foundation, Alphawood Foundation, Bloomberg Philanthropies, The Shubert Foundation, The REAM Foundation, The Joyce Foundation, The John D. and Catherine T. MacArthur Foundation, Allstate Insurance, Polk Bros. Foundation, Crown Family Philanthropies, The Andrew W. Mellon Foundation, The William and Orli Staley Foundation, and The National Endowment for the Arts. Additional funding is provided by: Abbot Downing & Wells Fargo, Alliance Bernstein, The Charles H. and Bertha L. Boothroyd Foundation, Exelon, The Lloyd A. Fry Foundation, John R. Halligan Charitable Fund, Illinois Arts Council, Illinois Tool Works, Italian Village Restaurants, Mayer Brown LLP, The McVay Foundation, LLP, The Prince Charitable Trusts, The Saints, Charles & M.R. Shapiro Foundation, Southwest Airlines, The Harold and Mimi Steinberg Charitable Trust, Whole Foods Market, and Wrightwood Neighbors Conservation Association.

 

It’s been quite some time since “Chicago” has actually been performed in Chicago (or thereabouts), but after a ten-year road in obtaining the show’s rights, Drury Lane Theatre in Oakbrook brings home the popular musical created in 1975 – and we are glad they did. With music by John Kander, lyrics by Fred Webb and a book by both Webb and super choreographer Bob Fosse, the musical “Chicago” is based on a 1926 play of the same name. Inspired by actual criminals and crimes reported by reporter Maurine Dallas Watkins, the story revolves around the notion of the “celebrity criminal” while mocking the Chicago justice system that was in place in the 1920’s, an era where it was also widely suspected that an attractive women could not be convicted of a heinous crime, like say, the murder of her lover or husband. 

In “Chicago” the story starts off with a “bang” when Roxie Hart (Kelly Felthous) shoots dead her lover on the side. She is quickly arrested and held in Cook County Jail while awaiting trial for murder. In an age when the press sensationalized homicides committed by women (good ol' media), the public quickly buys into the hype making an instant celebrity out of Roxie, and as starved for stardom as the former dancer has always been, she thrives on the new-found attention. In the “pen” Roxie meets several colorful characters, but none as tough as Velma Kelly (Alena Watters), a socialite divorcee and former cabaret singer who is currently the talk of Chicago for the high-profile murder she committed. Velma barely gives Roxie the time of day, instead giving her the cold shoulder. But when Roxie’s popularity soars as the “new story” and Velma’s diminishes, it’s Velma who wants to partner with Roxie for a song and dance nightclub act, this time receiving the cold shoulder from the new celebrity. 

Roxie’s only way to avoid a sentence of death by hanging is to hire the flashy, fast-talking lawyer, Billy Flynn (Guy Lockard) for five thousand dollars. Well beyond what the couple can afford, Roxie’s doting, naive and “invisible” husband Amos (Justin Brill) scrapes up what he can and promises Flynn to pay the rest when he can. From there, Flynn turns the case into a dog and pony show, equating the trial as a “three-ring circus”.  

Watters stuns on several occasions as sassy Velma Kelly, winning the audience over almost immediately after a dazzling performance of the musical’s opening number “All That Jazz”. Possessing just the right dose of sexy attitude, Kelly impresses both vocally and in her dancing, her performance nothing short of riveting. As notable as Watters’ portrayal of Velma Kelly, Felthous also knocks the ball out of the park as Roxie Hart, pairing perfectly with her fellow caged dame and giving the show a rock ‘em sock ‘em one-two punch. Felthous convinces as one stricken by delusions of grandeur, confusing the popularity of her murder case as celebrity fame, putting forth an overall display of well-tuned comedic timing to go along with her own vocal prowess and dance ability. As fun to watch as the two are, Watters and Felthous really bring it home in their physically-charged routine “Nowadays”. 

He’s charming, good-looking and possesses a silver tongue that can sway even the toughest juries. Well-cast, singer/songwriter Guy Lockard brightly shines as the smooth defense attorney, Billy Flynn, and gives the show yet another boost, particularly in his courtroom maneuvering melody “Razzle Dazzle”. Justin Brill also contributes nicely in his funny depiction of Amos Hart, a man who is considered so undistinguishable by others he aptly refers to himself as “Mister Cellophane” in one of the show’s most humorous numbers. E. Faye Butler’s strong interpretation of Matron Mama Morton is pivotal, Butler crushing it in the number “When You’re Good to Mama”, a jailhouse tutorial for newly imprisoned Roxie Hart. A talented ensemble also brings another strength to the production in their many alluring dance numbers, perhaps most markedly in “Cell Block Tango”, a sultry ode to the woman prisoner during the revolutionary Jazz age.  

  

This new staging of “Chicago” is colorful and richer than ever thanks to an artistic creative team that includes Kevin Depinet (Scenic Design), Sully Ratke (Costume Design), Lee Fiskness (Lighting Design), Ray Nardelli (Sound Design), Cassy Schillo (Properties Design), Claire Moores (Wig Design) along with Production Stage Manager Larry Baker. 

“Chicago” is an energy-driven musical that is sexy, fun and truly memorable. Filled with a slew outstanding performances, inventive choreography and a set list that is justly contagious, Drury Lane’s “Chicago” is a can’t miss thrill ride. 

The Roaring Twenties are back...in high style. 

“Chicago” is currently being performed at Drury Lane Theatre in Oakbrook through June 18th. For tickets and/or more show information, click here. 

 

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.       

 

Following the lives of Charlotte and Jonny, The Mystery of Love and Sex cleverly explores a variety of subjects including sexual identity, race, political correctness and family undercurrents. Charlotte and Jonny have grown up together and have become the very best of friends. Charlotte is a white girl who had lived with her parents, her father Jewish and her mother converted, while Jonny, an African American had lived with his mother just next door. 

The story starts off with Charlotte and Jonny living together while attending college. They wonder if their longtime friendship can develop into something more. The two are stressed when Charlotte’s parents, Howard and Lucinda, come by for dinner unsure of what they might think of their living relationship and their possible future together. Howard, a  successful crime novelist accused of writing with racist and sexist overtones by Jonny ("Why are all black men able to dance? Why are most found victims women with no clothes on?"), is direct, concerned and, at times, a bit skeptical. “What is this? Like Bohemian?” He says referring to the couple’s table setting. It doesn’t help matters that Charlotte and Jonny are serving just salad and bread. But we quickly see how much Howard cares for both his daughter Charlotte and Jonny, who he considers his son, despite his oft coarse exterior. 

As the story progresses, Charlotte and Jonny show trepidation in pursuing a future together even questioning their own sexuality. Howard and Lucinda, who consider themselves liberal parents, just want their daughter to be happy. We are then taken on several plot twists and turns in both Howard and Lucinda’s marriage and the lives of Jonny and Charlotte that keep the story highly engaging.

Keenly directed by Marti Lyons and smartly written by Bathsheba Doran, The Mystery of Love and Sex provides four main characters that are each appealing in their own ways. The interactions between the four is fulfilling, as it is humorous, touching and true to life. Doran’s story is that of love, whether it be unconditional or the lengths taken to find it. It is a journey into life’s most sought after desire and a tribute to accepting those for who they are.  

"I have had the pleasure of following the impressive rising careers of playwright Bash Doran and Director Marti Lyons for the past few years and I am delighted to find a project that suited both their considerable talents so perfectly," says Artistic Director Michael Halberstam.

Hayley Burgess leads the way as Charlotte with a bold performance in her Writers Theatre debut. Charlotte has many layers that are revealed throughout the play and Burgess gently takes the audience by the hand into her character’s depth one step at a time. Best friend and confidant Jonny is well-played by Travis Turner who is also able to play up to the complexities in his role with much aplomb. Lia Mortensen is just fantastic as Lucinda, delivering her witty lines to perfection and getting several laughs in the way her character struggles to quit smoking. Cast in the role of Howard is Keith Kupferer. However, Kupferer had taken ill and was unavailable for the performance I had attended thrusting Mark David Kaplan into the role, who is simply remarkable. Kaplan steers his role with grit and finesse offering the clear predictability of Howard’s stereotype, but is also able to throw in a handful of surprising moments filled with a genuineness than can catch us off guard. Kaplan and Mortensen are terrific as Charlotte’s parents, bringing forth plenty of funny exchanges and throwing several well-timed darts at each other.

There is a lot to like in Doran’s The Mystery of Love and Sex from its tantalizing script to its well-executed performances. The play delivers a solid message in a uniquely crafty way that is entertaining from beginning to end. 

Recommended. 

The Mystery of Love and Sex is currently running at Writers Theatre (325 Tudor Court, Glenview) through July 2nd. For tickets and/or more show information click here

*This play contains frontal nudity.

If you’ve followed Netflix’s big 2016 hit Stranger Things, this play will make all kinds of sense. You’ll get the jokes, the 80’s references and will easily follow the story line. If you haven’t seen the series, it would be recommended that you do before checking out Random Acts and Greenhouse Theater’s collaboration, Strangest Things! The Musical

Spoofing one of the most talked about sci-fi series to hit the airwaves over the past few years, Strangest Things! follows the disappearance of Will Byers, a young boy in Hawkins, Indiana. Set in the 1980’s, his mother Joyce Byers, brother Johnathan and a group of Will’s friends search everywhere to no avail, eventually enlisting the help of Police Chief, David Harbour. When a young girl known as “Eleven” appears from seemingly nowhere dressed in only a hospital gown, it is soon discovered she has psychokinetic abilities and things start to get weird. 

Befriended by Will’s friends, Eleven is able to contact Will from the other side and it becomes apparent that things are not at all what they seem. Joyce believes Will is contacting her from another dimension, his energy channeled through the radio and a string of Christmas lights, confident he is alive but trapped in another world. Of course, this sounds crazy – or is it? And with every good sci-fi thriller there needs to be a villain, so it’s soon discovered an experimental laboratory, led by scientist Martin Brenner, may have a hand in Will’s disappearance. Suspicious, the snooping begins and the plot gets deeper and deeper as the story progresses.  

The series won its popularity not only with its engaging storyline, but with the heavy use of 80’s music and sound effects, making it prime parody material.

That’s where Strangest Things! comes in. 

While Strangest Things! The Musical hits on some of the 80’s silliness and occasionally finds success in its over-the-top lampooning of the series’ characters, it struggles to hold onto its momentum. Taking popular 80’s hits like “Xanadu”, “I’m A Virgin”, “Sweet Dreams” and “Don’t Stop Believin’”, writers Bryan Renaud and Emily Schmidt change the lyrics to accommodate the storyline in the play. While the lyrics are, at times, funny, the execution falls a bit flat, the harmonies weak and the vocals often lacking strength, excluding Molly Lecaptain as “Juice” (Joyce) Byers who can flat out belt. We almost wonder if the play would have been better without the musical numbers, the dialogue exchanges drawing the most laughs along with the character exaggerations of each.

Lecaptain does a good job in taking on Winona Ryders’ character, over-amplifying her panic-stricken, bewildered and frenzied traits at just the right intensity, while Kevin O’Connell as “Sheriff Hopper” (Police Chief David Harbour) also takes his role and runs with it. Will’s best friend Mike is played by Jenna Fawcett, who doesn’t have to do much more than wear a goofy wig to get a chuckle but also delivers plenty of funny lines and loopy expressions. Older brother “Johnathan” is played by Ben F. Locke, who doubles as hunky high school heart throb Steve. Locke’s performance offers some of the best camp-dom in the musical, leaving more “Johnathan” scenes to be highly desired. Their comedic ability is only limited by the play’s script.

The play starts strong as we meet our characters the first time around (especially “Barb” played by Christian Sibert), but the humor becomes predictable, the character’s freshness soon overplayed and the jokes often coming off as contrived or overdone, a perfect example being Hopper’s mention of T.J. Hooker – which was funny – until he points out to the audience that we should laugh because he made an obscure 80’s reference. We know.    

If you enjoyed the Netflix series, there might be just enough in Strangest Things! to like despite its many missed opportunities for witty, comedic growth. The idea is there but the play could use a reworking to give its audience the most bang for their buck.            

Lukewarm, the play has severe hits and misses, some jokes really creative while others falling flat. As a whole, the story might be a bit tough to piece together without having seen the series, as it is presented somewhat scattered without full explanation, so again, it is recommended you watch Stranger Things first.  

Strangest Things! The Musical is being performed at Greenhouse Theater Center through May 13th. For more information on this production, visit www.greenhousetheater.org.

*This show has now been extended through July 8th.

 

Maybe we can chalk it up to a mid-life crisis…or, maybe, Wheeler is just a self-loathing man who’d just assume sabotage his own happiness rather opting to wallow in self-pity. In Steppenwolf’s Linda Vista, a new play debut by Tracy Letts and directed by Dexter Bullard, we get a very funny, and highly realistic, account of a man who has seemingly given up on life and love.

Wheeler (Ian Bradford) has moved from a cot in his wife’s garage to his own apartment in the Linda Vista apartment complex. With a soured marriage and an estranged relationship with his son coming to an end, Wheeler has the opportunity to start fresh, but that’s much more difficult than it sounds – at least it is for him. As we get to know Wheeler, a former Sun-Times photographer with promise who now holds onto a routine job as a camera repairman, we see someone who has been riddled with repercussions that have stemmed from a series of poor choices. Wheeler resents his soon-to-be-ex-wife for having him leave his Chicago life for California to be closer to her family. He resents his son for - well, just getting in the way of his life. He resents happy people. Hell, he resents Radiohead. But Wheeler has accepted his current situation – a cynical alcoholic that shoots down other people’s hopes and dreams, believing he is a “piece of shit” who “doesn’t deserve to be happy”. 

Wheeler’s best friend Paul (Tim Hopper) and his wife Margaret (Sally Murphy), friends from their college days, haven’t given up on him. They want to find him a partner who can bring out the old Wheeler who once had dreams and ambitions himself. When Paul and Margaret set Wheeler up with a friend of theirs, Jules (Cora Vander Broek), who is bright and bouncy, Wheeler reluctantly accepts and, as you can probably imagine, he has a few skeptical things to say after finding out she is a life coach. This, of course, threatens a man who wants a simple, joyless existence. Complicating matters for Wheeler, he takes in Minnie (Kahyun Kim), a twenty-four-year old rockabilly enthusiast recently kicked out of her own apartment in the same complex by her abusive boyfriend. 

The play is very truthful. It is about regret, wrecked opportunities and the consequences of unfortunate decisions. It is about letting oneself spin out of control, essentially giving up, and the struggle to choose happiness - a challenge when becoming so distant. But is also about hope and the chance to change for the better. In Wheeler, we are given a lovable “asshole” that we must root for. 

Ian Barford is tremendous as Wheeler. Barford quickly draws in the audience, grabs them and never lets go. Convincing, humorous and often decidedly heartfelt, Barford captures the essence of his self-deprecating character so well, we can’t help but think of a few “Wheeler’s” we know ourselves. Tim Hopper does fine work and is believable as Wheeler’s tolerable, but supportive, best friend as does Sally Murphy, both nicely adding to the play’s humor (I’ll just say karaoke bar scene). 

While Kahyun Kim is brassy and nails the too-cool-for-school attitude as Minnie, Cora Vander Broek is sparkles as Jules, perfectly pairing with Barford as his counterpart in a true positive/negative kind of relationship. We are also taken to the camera shop where Wheeler plugs away all day fixing one camera after another under the supervision of his crass boss Michael (Troy West), who is just waiting for a sexual harassment lawsuit to be filed against him as he repeatedly gawks and spews inappropriate comments at his clerk, Anita (Caroline Neff).

A revolving set takes us inside Wheeler’s California apartment, his workplace and to a bar. He lives simply, and that’s all he wants, DVDs of Stanley Kubrick littering his media stand and a refrigerator most likely only filled with a couple six-packs and a box of Arm & Hammer.   

Linda Vista is a well-acted ride into Wheeler’s uncertainties on turning fifty with the realization that his best years have long since passed. It is a play equipped with a stellar cast, a very funny script that is also genuine and even moving at times and direction that is so precise we can easily identify with each of Letts’ characters. 

Very highly recommended. 

Linda Vista is being performed at Steppenwolf Theatre through May 21st. For tickets and/or more show information visit www.steppenwolf.org

*Note – This play does contain full frontal nudity and sexual simulation. 

*Extended through May 28th 

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