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Wednesday, 20 February 2019 01:10

Marriott's Seussical a magical musical

The skies full of snow,
The weekend seemed dire.
Oh, where would we go?
To Lincolnshire!

On the Marriott stage
To see Seussical,
Straight from the page
To a musical!

All your favorites are there,
Horton and a Who or two,
Gertrude and Mayzie,
We even go to Kalamazoo!

Oh, the thinks you can think
When you think about Seuss.
And the sings you can sing
When you let writers loose.

The play follows Horton
You know him, you must —
The kindly old elephant
With a speck of dust.

With Evan Martin as Horton
And Pat McDermott, moreover,
As the Who on the speck
And the speck on a clover.

But soon there is trouble:
A sour kangaroo
Played by Nicole Kyoung-Mi Lambert
Mocks Horton and his Who!

For the speck is a planet
Filled up with these Whos
Who’ve befriended our Horton
Who soon has the blues.

But Gertrude McFuzz
All bouncy and blonde
Played by Kelly Felthous
Of Horton is fond.

But Gertrude’s not all
No, no, no! No way, Jose!
She’s not the only
Star of this play.

There are Bird Girls galore
By gosh and by golly
Played by Michelle Lauto,
Mallory Madke, and Samantha Pauly

And the Wickersham monkeys
Onstage jump and sing,
Played by Alejandro Fonseca
Brandon Springman, and Ron King.

Horton hatches an egg,
Jojo yearns to be heard,
There’s even red fish and blue fish
Amongst all the birds.

Oh, I almost forgot —
Have you any guesses?
The Seussian favorite
Played by Jon Butler-Duplessis.

A feline who’s tall,
Nearly tall as his hat,
Hosted all the hilarity —
The Cat in the Hat!

On the faces of children
When the play was all done
Were smiles and giggles
Both sure signs of fun.

This musical’s a hit
But it won’t last too long —
Until March 31st
You can hear Seuss’ songs.

So if you’ve got wee ones
Who love Dr. Seuss,
Don’t miss this play,
You’ve got no excuse!

Through March 31st at Marriott Theatre - www.MarriottTheatre.com

Published in Theatre in Review

Just imagine if you could be a fly on the wall during that infamous night when four legendary stars of rock and roll - Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis got together for one epic night at Sun Studios. That historic meeting had the young stars playing a variety of songs together while they shared their private sorrows and triumphs. Put it all together and you have the long-lasting recipe for success of the hit show "Million Dollar Quartet". Marriott Theatre is currently hosting the hit musical that actually plays more like a concert at times. 

Director James Moye uses the lovely theater’s in the round setting to create a new fresh and energetic staging of this show that will perk you up and make you feel the "sun" that must have been radiating out of the historic Sun Studios on December 4th, 1956 when these four young stars really did gather there to play on the same day. 

'"Million Dollar Quartet” is really an ensemble piece where all four lead characters also get a chance to shine individually during the course of the show. 

I have seen the show several times and even though these actors are playing monolithic stars and their memorable hit songs - each cast is totally unique. 

In this production Johnny cash played by Christopher J. Essex shines out as the best voice for Johnny Cash. Essex's deep rolling singing tones and gentle giant presentation are spot on and form an anchor for the entire cast to stay true to the singer they are portraying. Rustin Cole Sailors plays a nice, sensitive youthful Elvis and Shaun Whitley busts out with an excellent, rocking portrayal of Carl Perkins - blazing guitar playing and all. Marriott regular Laura Savage also impresses as Elvis’ girlfriend Dyanne, especially in her saucy rendition of “Fever”. Bassist Zach Lentino who play’s Carl’s brother Jay and Kieran McCabe who mans the drums are also a ton of fun to watch. 

But the real standout in this production comes from Nat Zegree as Jerry Lee Lewis. Zegree whose program biography states that he has played the role 350 times, is an animal in the role, prowling the stage and riding the piano like a tiger on speed. Zegree never loses sight of the brilliance of Jerry Lee Lewis piano chops and his ahead of his time, sexually charged rock and roll energy.  Zegree is a dancer, you can see that every step he takes, even while doing a headstand while continuing to batter the keys with ferocity and accuracy.

I've seen other actors play this role, but Zegree's interpretation and performance and piano playing is best I have seen. I imagine it must be difficult for an actor so multi-m talented to show off ALL of his talents in any other role. 

The show isn’t all rosy with four musical legends playing an impromptu one-night engagement. The story also delves into what an impact studio owner Sam Phillips (David Folsom) had on each of them – and how Presley, Cash, and Perkins outgrew the local music studio opting to go with big record labels like Columbia. Worry not, Phillips will be the first one to tell you he made out quite nicely.

A hearty soundtrack of favorite rock and roll classics light up the stage during the 100-minute play – toe-tapping hits such as “Blue Suede Shoes,” “Walk the Line,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Folsom Prison Blues” and “Whole Lotta Shakin’ Goin’ On.”

I thoroughly enjoyed the entire cast and every number in this exciting, inspiring show which was perfectly timed for the "dead of Winter" here in Chicago to warm up sleepy audiences. Zegree's showstopping, prodigy-like talents and explosive energy is a performance I will remember for a long time and makes this already great production one of the "must see" shows of the season. 

Highly recommended.

“Million Dollar Quartet” is being performed at Marriott Theatre through March 16th. For more show information visit www.marriotttheatre.com.

 

 

 

Published in Theatre in Review

Marriott Theatre brings yet another high-energy, song and dance production to its audience, this time mounting the regional premiere of ‘Holiday Inn’, a sentimental musical based on the 1942 film of the same name featuring the music of Irving Berlin and starring such great as Fred Astaire, Bing Crosby and Marjorie Reynolds. Directed and choreographed by Tony Award nominee Denis Jones and musically directed by Jeff Award winning Ryan T. Nelson, ‘Holiday Inn’ might just be one of Marriott’s greatest triumphs over the past few years.

“I am completely elated to revisit my work from the Broadway production of ‘Holiday Inn’ at the Marriott Theatre,” says Jones. It’s an honor to celebrate some of the greatest works of Irving Berlin and join forces with some of the most talented actors in theatre. With mesmerizing costumes and equally enthralling performances, audiences will leave with a few holiday surprises and a whole lot of holiday spirit.”

And though classics such as “White Christmas”, “Easter Parade”, “Blue Skies”, “Heat Wave”, “Be Careful, It’s my Heart” and “Shaking the Blues Away” are performed to perfection, it is the dance numbers in this production that truly steal the audience’s breath.

Jim Hardy (Michael Mahler) and Ted Hanvover (Will Burton) are best friends. The two entertainers have found a tremendous amount of success in New York as a song and dance trio that also stars Lila Dixon (Kimberly Immanuel). Lila and Jim are also quite the item and Jim wants nothing more to marry her. But the New York scene has run its course with Jim, so he also wants to hang up his tap shoes and take to the country. He proposes to his Lila, who accepts, and then shows her the deed to a farmhouse in Connecticut that he has just purchased in the hopes she would also want to give up show biz for a quiet life in the country. So, maybe he should have discussed such a major decision with Lila prior to making such a large purchase. When the three are offered a six-month touring engagement, Lila breaks Jim’s heart and hits the road with Ted. So it’s off to the country, alone, for Jim.

Dejected, Jim soon arrives at his newly purchased farmhouse ranch only to find Louise (Marya Grandy), a self-proclaimed “fixit man”, kind of comes with the house. In exchange for room and board, Louise will tend to the farmhouse but her title of “fixit man” extends much beyond the home itself. It isn’t long before the daughter of the previous owners, Linda Mason (Johanna McKenzie Miller), stops by to pick up some of the things that were left behind when the farmhouse was foreclosed upon. It isn’t long before a friendship develops and perhaps a spark ignites between them. It also isn’t long before Jim realizes farming might not be for him and longs for the stage again. And, as it turns out, Linda just so happens to have some performing experience of her own. But why go back to New York when you can bring New York to you? Just after Jim gets a surprise visit from a large group of performing friends, he comes up with the idea of turning the farmhouse into an entertainment getaway. After all, he’s got the floor space and plenty of rooms for guests. When his performer friends cannot commit to regular shows because of their own hectic schedules, it is decided shows will only be staged over the holidays – thus, ‘Holiday Inn’.

As chemistry builds between Jim and Linda, a drunken Ted reappears during opening night who briefly dances with Linda and soon has his sights on her as his new dance partner since Lila has left him for a Texas millionaire. Jim quickly finds himself in a similar situation, so we can only hope things will turn out differently for the all-around nice guy who may have found love once again.

‘Holiday Inn’ is filled with big, spirited dance numbers that are pure visual delights and the highlights are many. Will Burton’s recreation of Astaire’s “Let’s Say it with Firecrackers” is certainly one of them as he brilliantly taps his way around the stage with a bang – several bangs in fact. Johanna McKenzie Miller also leaves a strong impression, beautifully showcasing her amazing voice in such songs as “Nothing More to Say” and “White Christmas”. And throughout the talented dancing and singing offered in this production, Marya Grandy balances out the show with her incredibly funny performance as Louise, adding plenty of laugh out loud moments. A world-class ensemble that includes the familiar faces of Joe Capstick, Adam LaSalle, Laura Savage and Alejandro Fonseca pushes this musical into overdrive, while Lorenzo Rush Jr. as agent Danny Reed is a pleasure to watch in every scene he graces and child actor Patrick Scott McDermott also adds several moments of well-delivered humor.

Marriott Theatre presents a gem of a holiday treat that can be enjoyed by everyone. ‘Holiday Inn’ runs through January 6th and is highly recommended. For tickets and/or more show information visit www.MarriottTheatre.com.

 

Published in Theatre in Review

The anti-fairytale is something everyone can get behind. Though there have many of these attempts over the years, Shrek is still the stand out, the one that broke the mold, the OG. Now everyone's favorite ogre is back in an  hilarious stage spectacle, based on the Oscar-winning, smash-hit film.

An unlikely hero, Shrek, is determined to reclaim his precious swamp from exiled fairytale misfits with the help of his wisecracking sidekick, Donkey. Together, they find themselves on a life-changing journey to rescue a princess who is locked away in an isolated castle guarded by a fire-breathing, lovesick dragon. Throw in a short-tempered bad guy, a royal wedding, and an evil curse and you've got the kind of mess only true love's kiss can fix!

The musical closely followed the movie, at times nearly line for line, even capturing the original line’s cadence and inflection. But the repetitive was broken up by clever musical numbers such as What’s Up Duloc?’,  ‘I Think I Got You Beat,’ and ‘Freak Flag,’ that enabled the show to stand out on its own. The musical adapted the magic of the play well with a life-sized version of the gingerbread man, a fire breathing dragon, and the stand out of the day, riding a motor-powered horse, Lord Farquaad played perfectly by Steven Strafford. As the actors, stagehands, and technical crews moved throughout the theater and on stage, the audience was transported to Duloq seamlessly.

The green anti-hero first premiered in 2001 and seventeen years later it still holds up in a form that young audiences can embrace and enjoy.

SHREK THE MUSICAL runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $18.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com.

Published in Theatre in Review

I was so excited to see this production of " Sweet Charity" partly because I remember Shirley MacLaine’s spectacular dancing in the film version of this very funny Neil Simon hit play. 

The main character Charity Hope Valentine, played with pizzazz by Anne Horak, is a dance hall girl who falls for all the wrong guys. Charity literally falls, as she is actually shoved into the water by one of her money grubbing "boyfriends" as he steals her purse before exiting her life. Anne Horak has all the charm and naivete of the original character and gives the play that breath of fresh air quality that keeps the audience from thinking that Charity is purely a victim of circumstance who is not smart enough to save herself from the predators that she and the other pay to dance women must fight off while dancing. 

Many of the girls are tempted into prostitution though the dance hall to make enough money to survive in the city, but Charity staunchly refuses to give in and keeps looking for her "husband and life in suburbia" by taking a self-improvement class at the YMCA. There she meets a funny, neurotic and at first kindly seeming fellow, played with scene stealing physical comedy by Alex Goodrich. 

Charity also meets and is befriended and told how special she is (but not molested) by an Italian movie star (Adam Jacobs) where she gets to deliver that trademark song from his hotel suite "If My Friends Could see me Now!" 

What is super interesting and modern about Neil Simon's script is that in the end, even the "nice guy" admits to Charity that if given the chance he will turn on her emotionally and ruin her life with his critical and jealous nature regarding her physical beauty and job as a dance hall girl - which could be compared with being a stripper in today's terms. 

But Charity, who has searched for love high and low, does not wallow in a depression nor does she attempt to kill herself. Rather, she picks herself up and begins again to live with Hope, which is after all, her middle name!

Bob Fosse's amazing choreography is spectacularly preserved and brought to life by choreographer and director Alex Sanchez and a highly GIFTED ensemble of dancers in all of the numbers especially 'Big Spender" and the jaw dropping "Rich Man’s Frug". The dancers; Terry Hamilton, Joe Bigelow, Elyse Collier, Lexis Danca, Alex Dorf, Alejandro Fonseca, Eben K. Logan, Hanah Rose Nardone, Adam Rogers, Laura Savage, Alex Smith, Kyra Sorce and Jessica Wolfrum - ALL deserve a mention by name. This dance ensemble moving in the demanding, super sexy, exquisitely detailed Fosse style arrogance while holding their long cigarette holders with their upturned noses in the air nearly brought the house down.

The entire cast's costumes were superbly designed with great eye-popping color and rich textures by Mieka van der Ploeg that really captured the mid-late 1960s as it transformed to a fashion with bright, swirling colors from the drainpipe jeans and capri pants that were so popular earlier in the decade.

I highly recommend this funny, engaging and uplifting production which is full of great comedy, song and dance and still memorable classic Broadway hits such as “Hey, Big Spender” delivered with real class throughout. 

“Sweet Charity” is being performed at Marriott Theatre through October 28th. Visit http://www.marriotttheatre.com for more show information and times.

Published in Theatre in Review

The theater was clad in every hue of pink your eyes have ever seen: baby pink, fuschia, blush, rose, peach, flamingo, ballet slipper, I didn't know that was an official color until an audience member corrected me (I googled it, she's right). My husband and I did not get the memo and dressed our family in yellows and blues of summer. We should have known better. This was Pinkalicious after all, the dress code was not subtly implied. Luckily my daughter sported her pink unicorn shirt and her enthusiastic bouncing in her seat more than made up for the faux pas. After some technical difficulties and an announcement from the director the pinktastic, pinkeriffic, pinktacular show began.

Adapted form the beloved series of children's book by Victoria and Elizabeth Kann, Pinkalicious tells the story of Pinkalicious Pinkerton, a young girl with a penchant for pink cupcakes. Her parents warn her about the dangers of eating too many sweets, but her hunger can't be stopped. One morning she wakes up with pink hair, pink skin and pink clothes - yes, she's come down with pinkititis! It's up to her family to teach her moderation, and get her back to her normal color.

This play was surprisingly enjoyable. The Marriott theater's talented ensemble provided the perfect blend of professional acting combined with the laissez faire air of live children's theater. In short, they don't take themselves too seriously. While the beginning of the play post tech issues was a bit over the top, the lead too fake and utilizing a sickly too high-pitched fake kid's voice, the cast eventually settled into their roles, interacted more with the audience, and performed the second half with an ease and lightness that wasn't forced. The play also incorporated heavier themes like how boys can like pink too, and wove a unique story into the story with catchy numbers like “I got the pink blues,” and “Buzz Off.” At times it was the parents laughing more than the children, which only  the best children's shows can pull off. Overall, the overtly cute gave way to an adorable and simple story filled with good lessons and some one-liners we can repeat to our kids to continually reinforce good habits. That's right, you get what you get and you don't get upset kiddo!

This family friendly musical, which teaches the value of family and healthy living, is an enormous hit. It took off on Off-Broadway and their tour is quickly becoming a local theatre favorite. Every playdate and park trip has someone raving about it as much, if not more, than Hamilton. So get your seats today and  just remember dressing up in pink is highly encouraged! The tour plays Marriott Theatre in Lincolnshire, IL, until August 19, 2018. Tickets can be purchased at http://www.marriotttheatre.com/show/pinkalicious.

Published in Theatre in Review

When we think of traditional whodunits, we think of a carefully plotted murder, a list of suspects, and an inquisitive detective who gradually pieces new clues together until the crime is solved. Marriott Theatre’s “Murder for Two” is just that, albeit a musical-comedy that stars just two actors taking on 13 roles. How is that done exactly? With a lot of precision, spot on timing and with a special actor named Jason Grimm who bravely takes on the roles the twelve party goers (all suspects) as well as the victim.

When a surprise birthday party goes bad and Great American Novelist Arthur Whitney is murdered, small town cop Marcus Moscowicz decides to use his sleuthing skills to find the killer since the nearest detective is an hour away. Everyone in attendance of Whitney’s birthday party are suspects including Arthur’s wife, Dahlia, who relishes in the thought of being a “murderess”, prima ballerina, Barrette Lewis, renowned psychiatrist, Dr. Griff, Whitney’s niece, Stef, who is studying criminology in college, an elderly couple that bickers every chance they get and a handful of other interesting characters. Moscowicz wants badly to make detective and the clock is ticking, giving him less than an hour to solve the crime before he must turn the case over.

Noel Carey stars as Marcus and does a bang-up job as the eager detective-wannabe, perfectly complimenting Grimm as he goes from suspect to suspect – and back again. Both Carey and Grimm take turns playing the piano whether it be for a musical number or just ambience music.

Directed by Jeff Award Winner Scott Weinstein, “Murder for Two” is a fast-moving, suspenseful ride that offers big laughs in rapid-fire succession.

“This production provides a fantastic evening of murder mystery, zany comedy, and true virtuoso performances. There are only two performers that take on 13 roles throughout the entire 90 minutes, “says Weinstein. “They not only remain on the stage for the entire show, but one or both of them are also playing the piano throughout. Whether you are a fan of comedy, mystery, or anything in between, this production will have you begging for more.”

Weinstein couldn’t be more correct. Grimm’s ability to go from personality to personality without pause is nothing less than astonishing. The script is rich with humor and holds the perfect amount of suspense. The set's impressive revolving stage keeps all the action moving - literally.

“It is 90 minutes of nothing but silly,” Grimm says. “One character accidentally incriminates himself. One character, for attention, loves the idea that she is a suspect and basks in it.”

Joe Kinosian and Kellen Blair are the writers behind this exciting comedy and Carey and Grimm couldn’t be better cast (Carey has starred as Marcus in the musical’s national tour).

Highly recommended.

“Murder for Two is being performed at Marriott Theatre in Lincolnshire through August 26th. For tickets and/or more information visit www.MarriottTheatre.com.

Published in Theatre in Review

I love the theater. Having no talent for acting myself, I venture to see skilled thespians bring stories to life on the stage. My love of theater was fostered from an early age and, as an adult, I want to pass that love onto the next generation and help grow my children’s creativity and imagination. No other playhouse helps to do this quite as well as The Marriott Theater in Lincolnshire, who once again brought a beloved Hans Christian Andersen tale to the stage. Not only was the show delightful, but it kept two toddlers and a four year old entertained for over an hour without disruption. This is no small feat.

The Emperor's New Clothes is the story of fourteen-year-old Emperor Marcus the Third, who is nervous to take the throne. Deciding that he can only gain confidence by dressing in the finest attire, Marcus commands his Royal Clothesmaker to fashion him in the most royal wardrobe. Taking advantage of Marcus' uncertainty and immaturity, a Swindler promises to make magic clothes that are "invisible to fools, liars, and anyone you should ignore," for a large and hefty price. Only Arno, the simple-hearted mop boy, can help Marcus out of this royal mess and teach him an important lesson about outward appearance.

The play was performed with the same campy, over-the-top styling that can only be found in children’s theater, but there was also a genuineness brought to the story through the characters. This was most noticeable in the relationship between Emperor Marcus played by Declan Desmond and Arno, played by Garrett Lutz. The characters dominated the small cast and were at their best in their scenes together. They were genuine without overdoing it, authentic without trying too hard. The young actors’ charisma drew in all audiences and their fun back and forth banter made children giggle and clap with excitement. The actors seemed to genuinely enjoy what they were doing and above all just wanted to make the audience laugh. With so much joy and enthusiasm to their acting it was easy to see why young audiences were completely focused on them.

With quality play selection, wonderful acting, and a cast whose hearts are as young as the audience members’, you have a winning combination for a weekend excursion. Children will hopefully start to love the theater and parents will love an uninterrupted hour where they are not the entertainers.

The Emperor’s New Clothes is a one-hour presentation for kids (and parents) of all ages. All performances are followed by a Q&A session with the cast. The play runs through May 12, 2018 and tickets can be purchased at http://www.marriotttheatre.com/show/the-emperors-new-clothes. Please note: all patrons, regardless of age, need a ticket.

Published in Theatre in Review
Sunday, 04 February 2018 19:31

Marriott's "Ragtime" Well Worth the Wait

Marriott Theatre’s Ragtime might just be one of the best adaptations to make its way through the Greater Chicago Area - ever. E.L. Dotorow wrote the novel in 1975, which has stormed theatre stages since 1996, snagging thirteen Tony Awards in 1996.

With lyrics by Lynn Ahrens, music by Stephen Flaherty and a book by Terrence McNally, the highly-acclaimed musical follows three very dissimilar families beginning in 1906 New York. One family is a white, advantaged and wealthy, one consists of an immigrant Jewish father and his young daughter while the other is a young African-American couple following the birth of their new child. Throughout the story, the families become intertwined with each other as the story paints a vivid picture of privilege versus the struggles of those less fortunate. Ragtime is a moving story of hard times, prejudices and the will to survive by those who have been dealt a much tougher hand in life and also the understanding – and lack of understanding – that is had by those more prosperous. It is also the ultimate story of determination.

Beautifully directed by Nick Bowling, the story includes several colorful characters that really make a strong impact such as Tateh, the Jewish immigrant from Latvia, played impeccably with much intensity by Benjamin Magnusun. Tateh, a portrait artist, is inspired to succeed in America after watching the great Harry Houdini (Alexander Aguilar), another immigrant, make his rise to fame. Marriott Theatre veteran and actor/singer extraordinaire Nathanial Stampley once again rises to the challenge this time as Colehouse Walker Jr. the show’s champion and pioneer of “ragtime” piano-driven music. Katherine Thomas compliments Stampley well as Walker’s fiancé, Sarah, her role as powerful as any in the story that holds such a political relevance in today’s current state.

Ragtime was a long time coming for Marriott and this staging is well-worth the wait. Bowling decides to change the play’s ending, a decision for audience members to take home and ponder.

Chicago favorites Larry Adams and James Earl Jones II this time find themselves leading a highly gifted ensemble, adding even more punch to this influential musical. Brilliant performances run rampant in this production with riveting work from Jonathan Butler-Duplessis as Booker T. Washington and Kirsten Hodgens, known only as “Sarah’s Friend” in the program. Hodgens has show-stopping vocals that are certainly highlighted in this production.

With a running time of two hours and forty minutes, the production’s high engagement level from beginning to end without lull is testament to its quality. For those who have seen the musical before, just seeing it from another perspective, that of its in-the-round staging, is entertaining in itself. With spot on costume and set design, moving musical numbers and tremendous acting and vocal efforts, Marriott’s Ragtime should be in line for a Jeff Award nomination.

Highly recommended - a perfect piece of musical theatre.

Ragtime is being performed at Marriott Theatre through March 18th. For tickets and/or more show information visit www.marriotttheatre.com.

 

Published in Theatre in Review

This past week I found myself in a movie theater with reclining seats, an overpriced large popcorn, and a two liter cup of soda all to myself. The movie was awful, but the audience more than made up for the bad comedy. With contagious laughter and witty one-liners, the audience of closet suburban comedians turned the otherwise flat movie into a Second City stage. Sometimes the audience is more entertaining than the scheduled entertainment; that was definitely the case as I ventured out with my 3-year-old-daughter to see SLEEPING BEAUTY at The Marriott Theatre for Young Audiences.

SLEEPING BEAUTY is Marc Robin's musical adaptation of the classic Brothers Grimm fairy tale with some variations. In a kingdom far away, the vengeful sorceress Magenta has placed a wicked curse on the beautiful Princess Amber and only a true love's kiss can unlock the spell and wake her before it is too late. Prince Hunter must battle dragons, scale mountains, and sail the dark sea to save Princess Amber. Will his journey allow him to make it in time to prove his love to his Sleeping Beauty? This captivating fairy tale creates excitement and thrill for its audience as they root for Prince Hunter and the fate of the beautiful princess!

The play was performed with the over-the-top, flamboyant, campy type of performances that can only be found in children’s theaters. Bouncing excitedly in their seats toddlers watched with wide eyes, captivated by the colorful characters and silly antics of the cast. When the cast called on the audience to help Prince Hunter, played by Garrett Lutz, or to reassure Magenta, played by Meghan Murphy, the children responded faster than they answer their parents with a sense of urgency and enthusiasm only seen before bed times. Girls and boys dressed in princess dresses, waving at fairies and hiding in fear from the dragon. They sat on their feet and stood on their seats, craning their little necks to get better looks at their favorite characters on the stage. Rare moments of silence were punctuated with adorable high-pitched “whispers” of reassurance that princess Amber was “just sleeping;” big sisters calming worried younger siblings. With such pure happiness emanating from the seats around us, it was easy to overlook the many issues with the fairy tale narrative (like how a sixteen year old girl gets married after a single kiss or that a princess who is given courage and strength from her fairies is still not smart enough to stay away from a spinning wheel). But fairy tales often impart simple wisdom to impressionable audiences, and as they get swept up in the magic and majesty of the performance it is easy to look past our adult cynicism and just enjoy the show with childlike wonder.

SLEEPING BEAUTY runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $17.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com<http://www.MarriottTheatre.com>.

Published in Theatre in Review
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