Theatre in Review

Here comes the feel-good show that both adults and kids will enjoy. Based on the 2003 movie by the same name starring Jack Black, School of Rock-The Musical is featuring music from the movie, as well as an original score by Andrew Lloyd Webber and lyrics by Glenn Slater.

If you have not seen the movie (shame on you), here’s the basic plot: Dewey Finn, a desperately broke musician who lives on his best friend’s couch, gets an opportunity to pose as a substitute teacher at a posh $50,000/year tuition prep school, where well-to-do kids aim for “Harvard, or at least Cornell”. Unbeknownst to the school staff or the parents, Dewey jump-starts kids’ rebellious stage by organizing his class into a band and teaching them to play rock instead of learning math and history. In the process he builds kids’ self-esteem, gets them to forget about the troubles at home (yep, rich kids have problems too), and turns them into rock stars. Dewey falls in love with a beautiful, albeit uptight, school principal and gets her to reconnect with her inner rocker chick, and the parents change their minds on education.

Multitalented cast includes Broadway veterans Rob Coletti who is absolutely fabulous as Dewey, Lexie Dorsett Sharp (a cartoonishly entertaining Rosalie), very capable Matt Bittner as Ned, and Emily Borromeo (as hilariously played Patty), to name just a few. A slew of adorable, not to mention quite accomplished, kids will melt your heart and win you over without even trying. Ava Brigliawho, who plays Summer, already has a few shows under her belt (Matilda the Musical, and Gypsy), and Gilberto Moretti-Hamilton (Freddy, a New-York native, had been named “Musician of the year 2017” by the Boys Club of NYC; he plays drums (in the show), as well as piano, bass, xylophone and percussion. For most of the remaining young actors, School of Rock – The Musical is their debut. These kids are so cool, and they play their instruments live in every show!

This high energy production is moved along by the dynamic ever-changing set (scenic and costume design by Anna Louizos, lighting design by Natasha Katz) that moves seamlessly between Dewey’s apartment, school’s different rooms and the rock band stage. Great music hits are born in the kids’ classroom, and everyone wants to jump up and down to “Stick It To The Man”.

School of Rock- The Musical premiered on December 2015, and was nominated for four 2016 Tony awards, including Best Musical, Best score (Lloyd Webber and Slater), best Book (Fellowes). It also won the 2017 Oliver award for Outstanding Achievement in Music.

School of Rock – The Musical will play at the beautiful Cadillac Palace Theatre for a limited three-week engagement November 1-19, 2017. For more show information visit www.broadwayinchicago.com.

Published in Theatre in Review

Newsies, the Disney film from 1992 by Alan Menken (whose run around the same time of Little Mermaid, Beauty and the Beast, and Aladdin I’d put up against the work of any songwriter, on tape, on film, or on stage), was one I saw back when it hit VHS. But I don’t remember it too well. At least not the story. So, having not yet seen the Broadway adaptation of Newsies, I was curious to see if the Marriott Theatre’s production made more of an impression. And boy, did it ever.

The story’s still nothing that’ll make the “papes” (that’s what newsies call those inky, stinky things that used to provide the daily headlines), but I quickly realized we weren’t there for story. We were there for spectacle. And boy, did this production deliver.

In the round, the set is dominated by three steel girders that move to change the feel and figure depending on the needed background, but mostly harken back to turn-of-the-century NYC (partying like it’s 1899, not 1999), a city that’s growing and figuring it all out. So, too, are the newsies of the title, a pack of newspaper delivery boys of all shapes and shades and sizes, but who’ve got one thing in common – servitude to the media titans of the day. The story – one of standing up to the wealthy bullies who run things – is inspiring and as apt today as it was over a century ago, even if it doesn’t hold up to the spectacle. So let’s get to that spectacle!

Patrick Rooney as principal paperboy Jack Kelly works well as the lead. He’s got old-timey leading man looks and allure – “pizazz” they probably would’ve called it back in ‘99. And he’s got pipes, too, really letting loose on Menken’s “Santa Fe” to close the first act.

Jack’s fellow newsies have pizazz from the Bronx to Brooklyn, too. Athletes, all, they leap and bound, frolic and flip all across the square stage, charming the audience on all sides with spot-on choreography. Nick Graffagna as Davey looks and talks the part of a lad of that era, and Garrett Lutz’s bushy-haired Irishman does, too. Laura Savage and Adrienne Storrs as two newsgirls provide even more spunk and theater talent to the gang. And when the newsies storm the simple stage for ensemble numbers like “Seize the Day” and “King of New York” they make Lincolnshire’s modest forum seem simply metropolitan.

But from the get-go, the newsie who stands the tallest is young Matthew Uzarraga. As Crutchie, a disabled orphan armed with his namesake walking stick, Uzarraga first shows his skills when he joins Jack in harmony on an early take of “Santa Fe” – I’m a sucker for spot-on harmonizing, one of the things that’s hardest to do as a vocalist and when done right gives the listener goosebumps – giving me the chills. And throughout the show, Uzarraga’s crippled but plucky street urchin steals the stage whenever he’s on it, hobbling along happily and even bubbly and bright when consigned to a poorhouse bed.

My teen daughter, who accompanied me to the Marriott and who did catch the traveling cast of Newsies at the downtown Cadillac Theater a couple years back, said she enjoyed this production even more – delighted at seeing the footwork and old-timey fashions up close. So, too, did the rest of the audience – old and young, alike. So if it’s a story you’re looking for, I’ll tell you right now, Newsies is pretty much Annie, but with Worlds and Suns and Tribs instead of mops and buckets and baldheaded tycoons. But if it’s a show, a spectacle, you wanna see, then head to Lincolnshire for the Marriott’s production of Newsies, and pony up for the pomps and papes they’re sellin’!

For more show information visit www.marriotttheatre.com.

Published in Theatre in Review

“I’ve always favored unbridled passions,” sings Wotan in the Lyric Opera’s new production of Richard Wagner’s “Die Walküre” This is the second installment in Wagner’s epic 4-opera cycle “Das Rheingold” Lyric produced the first opera last season and will sequentially include the next two operas in their forthcoming seasons. In 2020, there will be a special presentation of all four productions.

Five hours is a long time to spend in a theater. Wagner is especially challenging for those not particularly versed in classical music. That said, this gorgeous production by David Pountney is well worth the time. If you’re wondering if you needed to see the first opera to understand the second, you absolutely do not. “Die Walküre” is a standalone with a clear conclusion. Most will at least be familiar with “The Ride of the Valkyries”

“Die Walküre” is sung entirely in German with projected subtitles. Try to imagine a time in which there were no subtitles. The plot is very weird, perhaps it was best to only assume what’s going on. Essentially, this is an opera about incest and that seems pretty racy for its 1870 premiere. The music is incredible though, which likely contributed to its cannon status.

The first act is surely what to come for, coincidentally it’s also the shortest. In the first act we meet the incestuous lovers Siegmund (Brandon Jovanovich) and Sieglund (Elisabet Strid). Siegmund rescues Sieglund from an unhappy marriage and wards off her husband with a magical sword only he’s able to pluck from a tree stump. He then impregnates his sister wife, despite that they know they’re related. Insert shrug emoji here. Staging in the first act is pretty sexual for a 19th Century opera. Siegmund’s sword is an obvious phallic symbol and Pountney’s blocking leaves little to the imagination. The blatant eroticism helps spice up the melodrama.

Logically, this affair angers the gods and they send favored Valkyrie Brünnhilde to kill Siegmund. Reknown soprano Christine Goerke reprises the role of Brünnhilde, which she’s previously sung for a few other companies. For those unfamiliar with this opera, it would seem like a bit of a surprise that the story really ends up being about Brünnhilde and her relationship with her father Wotan (Eric Owens). The two shine together in the final act, despite the nearly agonizing repetition of dialogue.

This is an exciting and beautiful production. The aesthetic is almost like an old movie set. The horses upon which the Valkyries fly are hand operated by the ensemble. It makes you wonder, how did Wagner envision this special effect at the time he wrote it? Each scene is darkly lit and costumes are trimmed in red. The time period seems to be undecided as costumes appear to span the decades.

With only seven performances, this special production is a must-see for local opera enthusiasts. For those unfamiliar with opera, attend without trepidation. The production may run just a little under five hours (with two 30-minute intermissions), but the evening seems to fly by.

Through November 30th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-332-2244

 

Published in Theatre in Review
Wednesday, 01 November 2017 17:37

Yasmina's Necklace touches the heart

Playwright Rohina Malik and director Ann Filmer have reunited and have collaborated on something special. Goodman Theatre’s current run of Yasmina's Necklace is one of my favorite plays of 2017. Here's why. 

In Yasmina’s Necklace, we are treated to a uniquely told love story that is as moving as it is thoughtful. It is funny, and it is beautifully staged. A story this wonderfully crafted and so well acted that delivers such a poignant message only comes around so often.

Yasmina and her father, Musa, are refugees from Iraq and they meet an upper middle-class family in Chicago who are looking for a wife for their divorced son Sam. We are reminded that it is very common in the Muslim faith to have an arranged marriage, prompting one of my favorite lines from the play, "real love comes after marriage, not before." 

Sam, played to perfection by Michael Perez, had moved away from the Islamic faith and married a non-Muslim American. He talks a bit about the challenges he had after the marriage and the many medications he had to be on due to his infidelity. Yet he strives for all things you would see in someone who is first generation like acclimating to the Western culture by changing his name, as well as pushing himself in his career. 

The true magic happens in the connection Sam makes with Yasmina, who is wonderfully played by Susaan Jamshidi, but the two didn't start off so smoothly. Yasmina is a thirty-four-year-old woman who is empowered, self-aware, an artist. This is not a common perspective you see of Muslim woman and I loved how Yasmina pushed back on what she wanted and strived to help others not only in Baghdad but also in Chicago. 

What drew me to the play immediately was the simplicity and peace shown around the Islamic faith. In today's society, I believe this is the most misunderstood religion even with close to two billion followers globally. The journey Yasmina and her father made to the United States from war torn Baghdad was something no human should ever experience. War is ugly, cruel, and unjust. The play is able to highlight the challenges of being a refugee and painted a vividly raw picture of what they went through. 

You have a bit of everything in this play that I could go on and on about but want you to experience for yourself. All the ingredients are in place for a thoroughly engaging production that will touch your heart, make you laugh and is sure to enlighten. I highly recommend Yasmina's Necklace.

Yasmina’s Necklace is being performed at the Goodman's Theatre through November 19th. Tickets range from $10-40. Yasmina’s Necklace has an approximate running time of two hours including one intermission. Oh, there is a special surprise at the closing for all the Bruce Springsteen fans out there. 

For more show information visit www.goodmantheatre.org.

 

Published in Theatre in Review

Celebrating nearly 35 years in their factory space around the North Center neighborhood, American Theater Company has a knack for taking risks on new works. “Welcome to Jesus” is prefaced with a recorded curtain speech by artistic director Will Davis, “It’s our responsibility to take risks.” And that is absolutely true. At no other company in town are you more likely to see a smash hit first production right before it becomes a Pulitzer finalist.

“Welcome to Jesus” is not one of those gems. This new play by Janine Nabers is likely to land among the annals of forgotten plays, but good for ATC for taking a chance. Under the direction of Will Davis, this world premiere is certainly provocative but begs the question, is this the best way to make the playwright’s point?

“Welcome to Jesus” is about a small Texan town obsessed with high school football and wholesome, Christian values. When two bumbling, and related, cops come across the zombie-fied head football coach with a dead body in the woods, the play takes on a racist-flavored B-horror movie feel.

The point that Nabors spends two short acts exploring is what it’s like for people of color in Christian, white dominated places. It’s also a commentary on how the professional sports industry uses up athletes while skirting the issue of racism. In that regard, Nabors’ script is very topical. The problem is that her thesis is obscured by supernatural plot points which ultimately have no resolution or bearing on the conclusion.

Will Davis’ direction is a little strange, but the performances are strong. A little too often the audience is subjected to blinding light and expected to participate. There’s nothing necessarily wrong with that, but if an audience can’t connect with the work, this gimmick is bound to be awkward.

“Welcome to Jesus” has something to say, but whatever it is, isn’t quite there yet. The important thing is that a successful theater company saw a play with a contentious message and gave it a chance. Nabors would be best to revise her well-meaning script so that it’s more like a play and less like a Netflix pilot.

Through December 3rd at American Theater Company. 1909 W Byron St. 773-409-4125

Published in Theatre in Review

Hell in a Handbag Productions is pleased to conclude its 15th Anniversary Season with its most popular show ever: the holiday hit RUDOLPH THE RED-HOSED REINDEER 2017 by David Cerda*, co-directed by Becca Holloway and AJ Wright*. Handbag’s irreverent parody of the 1967 Rankin Bass children’s television special will play November 25 – December 30, 2017 at Mary’s Attic, 5400 N. Clark St. in Chicago’s Andersonville neighborhood. Tickets are on currently available at www.handbagproductions.org (through Brown Paper Tickets) or by calling (800) 838-3006. 

RUDOLPH THE RED-HOSED REINDEER will feature Graham Heacock as Rudolph, Kristopher Bottrall* as Herbie, Allison Petrillo as Jane Donner, Chase Wheaton-Werle as Tom Donner, Michael Jack Hampton as Santa, Tommy Bullington as Mrs. Claus, Sydney Genco* as Elfina, Colin Funk as Spike, Michael Rawls as Score, Josh Kemper as Coach Comet, Lori Lee* as Yukon Cornelia, Terry McCarthy* as Connie Blitzen, David Cerda* as Gladys Dasher, Christea Parent* as Clarice and Matt Sergot as Sam the Snowman.
 
Chicago’s favorite cross-dressing reindeer is back and he’s 20 years old! RUDOLPH THE RED-HOSED REINDEER had its first reading in 1996 and has evolved into one of Chicago’s most popular anti-holiday, holiday shows. Join Rudolph and all of his misfit friends as they struggle with fitting in and being ‘normal’ in an increasingly abnormal world. Playwright David Cerda* always adjusts the show to fit the current social climate. 
 
The production team for RUDOLPH THE RED-HOSED REINDEER includes: Roger Wykes (set design), Kate Setzer Kamphausen (costume design), Cat Wilson* (lighting design), Ralph Loza (sound design), Adrian Hadlock* (props design), Lauren Griffith (choreography), Keith Ryan* (wig design), Sydney Genco* (make-up design) JD Caudill* (music director) and Drew Donnelly (stage manager).
 
*Denotes Hell in a Handbag Ensemble Members
 
PRODUCTION DETAILS:
 
Title: RUDOLPH THE RED-HOSED REINDEER 2017
Playwright: David Cerda*
Directors: Becca Holloway and AJ Wright*
Cast (in alphabetical order): Kristopher Bottrall* (Herbie), Tommy Bullington (Mrs. Claus), David Cerda* (Gladys Dasher), Colin Funk (Spike), Sydney Genco* (Elfina), Michael Jack Hampton (Santa), Graham Heacock (Rudolph), Josh Kemper (Coach Comet), Lori Lee* (Yukon Cornelia), Terry McCarthy* (Connie Blitzen), Christea Parent* (Clarice) Allison Petrillo (Jane Donner), Michael Rawls (Score), Matt Sergot as (Sam the Snowman) and Chase Wheaton-Werle (Tom Donner).
 
Location: Mary’s Attic, 5400 N. Clark St., Chicago
Dates: Previews: Saturday, November 25 at 7:30 pm, Sunday, November 26 at 7:30 pm and Thursday, November 30 at 7:30 pm
Regular run: Thursday, December 7 – Saturday, December 30, 2017
Curtain Times: Thursday, Fridays and Saturday at 7:30 pm; Sundays at 6 pm. Please note: there will not be performances on Saturday, December 2, Sunday, December 3 or Sunday, December 24 (Christmas Eve); there will be an added performance on Wednesday, December 20 at 7:30 pm.
Tickets: Previews $13. Regular run $25 in advance, $30 at the door. VIP tickets with cocktail $40 and up. Group rates $20 for 10 or more. Tickets are currently on sale at www.handbagproductions.org (through Brown Paper Tickets) or by calling (800) 838-3006.

 

Published in Upcoming Theatre

Other Theatre is pleased to continue its 4th season with the third revival of its holiday hit BARNEY THE ELF, a campy and irreverent musical comedy, written by Bryan Renaud with lyrics by Renaud and Emily Schmidt. After helming the 2016 production, Tommy Rivera-Vega returns to direct and choreograph, with music direction by Nik Kmiecik and arrangements by Jermaine Hill. BARNEY THE ELF will play November 17 – December 31, 2017 at Other Theatre’s resident home, The Greenhouse Theater Center, 2257 N. Lincoln Ave. in Chicago’s Lincoln Park neighborhood.  Tickets are available at www.theothertheatrecompany.com, in person at the Greenhouse Theater box office or by calling (773) 404-7336. Season subscriptions are currently available. 
 
BARNEY THE ELF will feature Roy Samra as Barney, Chicago drag sensation Dixie Lynn Cartwright returning as Zooey, Maggie Cain as Mrs. Claus, Jaron Bellar as Junior and Courtney Dane Mize as Cookie/Ensemble with Emilie Rose Danno, Colleen DeRosa, LiSean McElrath, Lance Spencer and Cody Talkie.
 
After Santa Claus retires, his wicked son begins a not-so-jolly reign as the new head of Christmas. The North Pole begins to crumble under his bigoted rule, and Barney the Elf is forced to leave his home for being different from the others. Soon he embarks on a fabulous journey of self-discovery (or is it elf-discovery?) that lands him in one of Chicago's hottest drag bars. But can he truly leave Christmas behind for a new life in the big city? BARNEY THE ELF brings pop-infused musical numbers galore and plenty of queer holiday cheer to Lincoln Park for the third year in a row! 
 
"Rather endearing [with] surprising emotional payoffs... Renaud and his collaborators may well have a fringe holiday repeat hit to call home for the holidays."  –The Chicago Tribune
 
The production team for BARNEY THE ELF includes Michael Johannsen (scenic design), Olivia Crary (costume design), Matthew Carney (lighting design), Ashley Pettit (sound design, production manager), Bobby Taves (asst. music director) and Meghan Erxleben (asst. lighting designer).
 
PRODUCTION DETAILS:
 
Title: BARNEY THE ELF
Written by: Bryan Renaud
Lyrics by: Bryan Renaud and Emily Schmidt
Directed and choreographed by: Tommy Rivera-Vega
Musical Direction by: Nik Kmiecik
Musical Arrangements by: Jermaine Hill
Cast: Jaron Bellar (Junior), Dixie Lynn Cartwright (Zooey), Maggie Cain (Mrs. Claus), Emilie Rose Danno (Ensemble), Colleen DeRosa (Ensemble), Roy Samra (Barney), Courtney Dane Mize (Cookie/Ensemble), LiSean McElrath (Ensemble), Lance Spencer (Ensemble) and Cody Talkie (Ensemble).
Swings/understudies: Bella DeBalle, Miranda Harris and Tommy Rivera-Vega
 
Location: The Greenhouse Theater Center, 2257 N. Lincoln Ave., Chicago
Dates: Preview: Friday, November 17 at 8 pm, Saturday, November 18 at 7 pm, Sunday, November 19 at 3 pm and Sunday, November 26 at 3 pm.
Regular run: Thursday, November 30 – Sunday, December 30, 2017
Curtain Times: Thursdays, Fridays and Saturdays at 8 pm; Sundays at 3 pm. Please note: there will not be a performance on Sunday, December 24 (Christmas Eve).
Tickets: Previews: $20 with code “PREVIEW.” Regular run: $25. Students $15 with code “STUDENT.” Industry $15 with code “INDUSTRY.” Tickets are available at www.theothertheatrecompany.com, in person at the Greenhouse Theater Center box office or by calling (773) 404-7336. Season subscription are currently available.

 

Published in Upcoming Theatre

Sarah Ruhl’s ‘In the Next Room, or the Vibrator Play’ returns to Chicago at Timeline Theatre. Directed by Mechelle Moe, this drawing room comedy about the advent of electricity is sure to tickle audiences. Ruhl’s works have often been produced around the city as she’s an Evanston native. She may reside in Brooklyn now, but we’ll still claim her as our own.

‘In the Next Room’ was shortlisted for the 2009 Pulitzer after a successful Broadway run. It was also nominated for the 2009 Tony Award for Best Play. ‘In the Next Room’ might just be Ruhl’s most fully realized play. It’s a whimsical, if not loose, history of the invention of the vibrator. While it may sound like a cheeky sex comedy, ‘In the Next Room’ is a feminist anthem.

Dr Givings (Anish Jethmalani) is a country doctor who specializes in hysteria, a very real condition that afflicted women during a much less sexual period in history. His wife Catherine (Rochelle Therrien) does not suffer as her husband’s patients do, but instead yearns for romantic love. In some ways, this play is like Sarah Ruhl’s own version of ‘A Doll’s House.’ A wife searching for her purpose in a world dominated by men. Catherine says at one point “I do not know what kind of person I am” and feels like a failure when her child will not nurse. Through various entrances and exits, we’re shown how sexless life was between man and wife during the Victorian era. As an audience with hindsight, we understand that this miracle cure for hysteria is nothing more than a medically induced orgasm.

The ensemble is well cast. Rochelle Therrien makes Ruhl’s fanciful dialogue endearing and innocent. Her fresh-faced and child-like performance is so charming you can’t believe her husband’s indifference. Though quiet and understated, Dana Tretta plays Annie, the physician’s midwife. A sort of “Igor” sidekick type, but Ruhl doesn’t overlook the character. Her arch of a life without love is perhaps the most touching of all.

Not only is this play a feminist anthem, but a play about orgasms. The very idea that women did not discuss anything related to sex is absurd in a world where you can watch re-runs of ‘Sex and the City’ at any given time. Even nursing a child was considered distasteful to discuss. Rarely if ever have so many simulated orgasms happened in one theatrical performance. Though, like the era, they’re so unsexualized that you can’t help but giggle at the characters discovering themselves. In one full-length play Sarah Ruhl bursts nearly every female taboo of the time out of the closet. Never have Women’s Rights been a more hot button issue and ‘In the Next Room’ comes at just the right time.

Through December 16 at Timeline Theatre Company. Stage 773, 1225 W Belmont Ave. 773-327-5252

 

Published in Theatre in Review

Most people are aware of the movie Carrie, starring the haunting Sissy Spacek as the picked on teenaged outsider who uses her telekinetic powers to burn down her high school with most of her attackers in it, but few know there was a sequel made in the 90's where her long lost sister ends up using the same powers to avenge her and her best friend’s mistreatment. The sequel is appropriately titled Carrie 2: The Rage

Writer/composer Preston Max Allen does an amazing job of using the movie sequel as his starting point in Carrie 2: The Rage (An Unauthorized Musical Parody), writing many very funny and well-crafted parody songs and scenes to fill out the play. 

Rachel Lang, the lead played solidly by Demi Zaino, finds out that the reason her best friend committed suicide the day after happily losing her virginity to one of the boys on the football team is a cruel game that the boys are playing with young girl's minds by judging their looks with a point system for the football player who "bangs them". The boys then and then dump the girls who are considered "coyote's,” not really the ugly girls just the sensitive, nerdy vulnerable ones. 

Then to make things worse Rachel ends up stealing the heart of the only nice football player that the head cheerleader is in love with and thereby invites the wrath of the cheerleaders and the team when she tries to prove the team were at fault for her friend’s death. As revenge, the team and cheerleaders gang up on Rachel and orchestrate the video taping of her having sex with the nice football player named Jesse. After viewing herself having sex and being laughed at by everyone invited to a private party, Rachel unleashes her inherited telekinetic rage powers to kill everyone much the same way Carrie did nearly two decades earlier. 

Although the plot of Carrie 2: The Rage seems like a perfect warning tale about bullying, it is also a terrifying reminder of the damage caused by sexual harassment and rape.

First of all, it is terrifying to grow up in an age where your immature teenage peers can make a sex tape of you and show it to everyone you know. Also, it shows that Rachel's virginal friend is actually thrilled to have "become a woman" with what she thinks is her new boyfriend - until he breaks up with her the very next day because his friends call her a "coyote".

The way she is broken up with is worse than the act of sex itself because it means that the act of sex itself was a vengeful act to him, not the beautiful loving experience she had been conned into thinking it was. 

All three cheerleaders are played with perfect camp, each having their own unique brand of snotty mean girl-ness that is very funny and well played. But two character actresses really steal the show in the roles of Rachel's mentally ill mother, Annie Pfohl and the high school counselor, who witnessed the first destruction of the high school with Carrie at the helm played by Sue Snell. Both Snell and Pfohl play the crazy in their roles with fantastic realism and comic timing which takes the play to a whole new level of both humor and spookiness. Sam Button-Harrison is also tremendously funny as the play’s lead bully.

You really feel for these beleaguered women who are trying desperately to forget and prevent the tragedy that has ruined their lives as well as Carrie, and now poor Rachel's, at the hands of some of the meanest boys and girls the musical comedy stage has ever seen. 

Eric Luchen, designs a set in the tiny Arkham space that seems to expand and contract with each number in marvelous ways. Choreographer Maggie Robinson and co-directors Rachel Elise Johnson and Isaac Loomer each do a wonderful job bringing this nice sized cast to life with full out dance numbers and great lighting and sound effects that move along quickly and seemed to be unfolding in a much larger space. 

I really laughed at, and thoroughly enjoyed, this well played, musical wild ride through the early nineties (right down to Rachel’s torn jeans, army boots and plaid shirt tied around her waist). The Rage is filled with gore, laughs and a moral - "People shouldn't suck so much!" Just in time for Halloween! 

Underscore Theatre’s Carrie: The Rage (An Unauthorized Musical Parody) is being performed at The Arkham through November 19th. For more show information visit http://www.underscoretheatre.org/.

 

Published in Theatre in Review
Monday, 16 October 2017 12:08

BLUE MAN GROUP CELEBRATES 20th BIRTHDAY!

With two decades in its home at Lakeview’s Briar Street Theater under its belt, Blue Man Group is still going strong. The show can best be described as a bizarre, performance-arty take on STOMP, with both running about 90 minutes without an intermission, both featuring silent performers, both utilizing homemade percussion instruments, and both inciting audiences to go, “What the hell did I just see?”

Blue Man Group was founded in New York in 1991 by three friends: Chris Wink, an artist and drummer, Phil Stanton, a DIY designer and builder, and Matt Goldman, an entrepreneur and software developer. All three have been nominated for Grammys for their musical work on Blue Man Group.

Even after twenty years, Blue Man Group’s uniqueness keeps people coming back. For a show that has become such a staple, it is still unlike any of its theatrical peers, i.e. musicals, plays, operas. And for good reason. What other mainstream theatrical production features paintings created live onstage, quirky feats like seeing a performer catch dozens of marshmallows in his mouth, surprisingly funny, albeit silent, sketches with deer-in-the-headlights audience participants, and tons of cool, otherwordly, Pink Floyd-esque music being played live right in front of you?

A rundown of the materials used for each show should give some idea (or not) as to what a BMG audience is in for. Each week the three Blue Men go through the following materials: 32 pounds of Jell-O, 8 boxes of Cap'n Crunch, 385 marshmallows, 40 pieces of white chocolate Toblerone, 44 boxes of Twinkie Lights, 60 drum heads, 64 drumsticks, and 28 cakes of blue makeup made specially for BMG -- they even have their own proprietary color called "Blue Man Blue."

The 20th birthday performance featured some minor add-ons from the regular BMG show. One of the pieces of art created live onstage during the show via paint being spit out of one of the Blue Men’s mouths revealed “20!” in big white text, while there were lots of treats for the audience like tote-bags, various SWAG, and custom Sprinkles cupcakes.

It's clear why the indefinable show has continued to dazzle audiences across the country for twenty years, and as long as this city remains a vibrant hub for entertainment, Blue Man Group will have a welcome home in Chicago.

You can catch Blue Man Group at Briar Street Theater at 3133 N Halsted St on Thursdays through Sundays. Tickets on Ticketmaster.

Published in Theatre Reviews
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