Displaying items by tag: Ken Payne

Dan Clancy’s Middletown is a very true-to-life rollercoaster ride involving two couples that befriend each other in the prime of their lives and remain friends through their senior years. They have dinner every Friday night for thirty-three years and share everything with each other – the good and the bad. They lean on each other and, in many ways, become closer than family.

After a series of successful runs around the country over the past few years, Middletown now makes its temporary home in Chicago’s Apollo Theater in Lincoln Park. The mid-sized venue is a cozy home for the play to settle into for its month-long run. The show is different than most as it comes without a set or props and has the actors reading directly from scripts and writer Dan Clancy has his reasons for this. “I wanted to tell a relatable ‘every-person’s’ story in a direct and straightforward manner where human emotions are front and center – without bells, whistles, special effects, or props,’ says Clancy. “I wanted the show to speak for itself.” 

Adrian Zmed (left) and Donny Most in 'Middletown' at Apollo Theater Chicago through March 22nd

And his approach is very effective, perhaps thanks to the caliber of actors involved. In fact, we are given a powerhouse of talent in this show, each actor skillfully navigating their widely-ranged roles through calm waters and rough waves. Sandy Duncan is a sheer delight to watch as Peg as she pairs with Adrian Zmed, who deftly plays her husband, Tom. It’s clear the two love each other no matter what - through the good and bad times – and they meet plenty of challenges along the way that put their love to the test. Donny Most also delivers an outstanding performance as Don, while Kate Buddeke shines as his wife, Dotty. Even though the actors are delivering lines from a script, so convincing is the quartet, it isn’t long before one forgets they are even reading, and we are just lost in a tremendous relationship between two couples.

The shows starts with a bang as the actors charge into the stage area to a Bruce Springsteen song. An enthusiastic Duncan, Most, Buddeke and Zmed each greet the crowd before heading to their assigned locations. It is then Duncan briefly addresses the audience to prepare them for the show while pointing out, “I’m at the age where I’m not sure if I don’t remember something or if I never knew it in the first place.” 

Middletown is a unique theatre piece. The lack of on-stage distractions has theatre goers really focusing on its rich content, which is exactly Clancy’s intention. It also allows for us to grow more intimately with each character. The show has plenty of humorous moments, plenty of difficult moments and a handful of surprisingly heavy moments. Like I said earlier, it’s a rollercoaster ride. Says Donny Most in describing Middletown, “It’s really a wonderful play that takes you through so many different emotions. There is comedy and then there are very heartfelt moments and very dramatic moments in the play. I think it’s something so many people will relate to.” Most continues, “There is something for everybody. It will hit a chord within, and you’ll have a smile on your face, with that recognition, or the pang deep down where you feel the pain and the emotion. It’s that kind of a piece.”

The story in itself is absorbing from beginning to end and its journey through life is sure to be relatable to most that see this play. Though it’s the story of Tom, Peg, Don and Dotty, it’s also the story of so many we know if not our own. Middletown is the story of friendship – the best kind - plain and simple.

Superbly directed by Seth Greenleaf, Clancy’s story hits its target on point and the special cast that has been assembled performs beautifully and truly connects with the show’s audience, making Middletown a masterfully delivered event to remember.

Highly recommended.

Middletown is being performed at The Apollo Theater Chicago through March 22^nd before taking on dates in Tampa Bay and Miami. For tickets and/or more information visit www.MiddletownPlay.com or www.ApolloChicago.com. 

To read our very entertaining interview with star Donny Most, click here.  

There’s something about a good mystery that keeps us engrossed. Maybe it’s the colorful suspects, maybe it’s the dissecting of clues involved, maybe it’s our own morbid curiosity that comes with murder - after all isn’t Forensic Files still one of the most watched TV shows? We like the detective work, plain and simple – the search for motive and opportunity and the gathering of evidence. And we certainly like the thought that everyone in the room is a suspect, no matter how unlikely they might seem. There’s a reason that Shear Madness has been running for forty years and is now one of the longest running non-musical plays ever (the whodunnit The Mousetrap leads all stage productions with the longest ever run). Well, amateur detectives, get ready because there’s been another murder in Chicago and your help is needed to solve the case. Once a mainstay in Chicago from 1982 through 1999, Shear Madness has returned, this time making its temporary home at Mercury Theater.

Taking place inside Shear Madness, a Chicago salon, life seems normal for the most part until the landlady upstairs is brutally murdered – stabbed repeatedly with a pair of – guess what - shears. But fortunately, Detective Nick Rossetti (Joe Popp) has been working undercover and is on the scene and through a bit of interrogation and deducing we find that everyone has a motive. Suspicion runs rampant as accusations fly everywhere and it soon becomes clear – the audience will need to help in bringing the killer to justice.    

Like in any engaging whodunnit, Shear Madness gives us a handful of intriguing characters and though the play starts off a bit sluggish to the point where one asks themselves where the story could possibly be going, the excitement quickly accelerates once the murder occurs and its direction is no longer in question. After a few scenarios are tossed around onstage, Detective Rossetti asks the audience to participate as the cast reenacts everything that had happened prior to the murder with as much detail as possible. If something is amiss or does not match what had actually happened, theater goers are invited to call out the discrepancy to help the detective put the pieces together. We are then encouraged to toss out any theories we might have to Detective Rossetti during the intermission where he makes himself readily available, at the same time we prepare questions to ask the play’s characters once the second act begins. Yes, we get to interrogate the suspects.

Best put, Shear Madness is just plain old fun. It’s a hilarious show that gives us a chance to crime solve along with the detective, some of its funniest moments the participation between audience and cast. Also entertaining are the many references to Chicago and several jokes that have been updated to include todays politics and pop culture. Sure, some of the humor is dated. The show was created in 1980. But it works – and works well. Thanks to Warner Crocker’s well-piloted direction and a superb cast that works well together and can also seamlessly interact with the audience on the fly, we see that funny is funny no matter when it was written so long as it’s delivered well. And no one was off limits. Touching on famous personalities from Taylor Swift to Bill Clinton to Joe Biden to Rod Blagojevich to dot, dot, dot, the play certainly takes its share of swipes. And while some of its jokes might be geared to ruffle a few feathers, the audience clearly takes them as just that – jokes. Even in its more contrived moments where predictable humor is used, a laugh is usually found. In the end it’s a silly comedy, not a show to be taken seriously, and lord knows we could all use a laugh or two.

The show does get a boost from audience involvement and even some good-natured heckling, but it naturally relies heavily on its cast. Ed Kross is a sheer delight to watch as Tony Whitcomb, the flamboyant salon owner, both his well-timed innuendos and physical comedy garnering one laugh after another. Mary Robin Roth as Mrs. Schubert also has many scene stealing moments as does David Sajewich as “used antique dealer” Eddie Lawrence while Brittany D Parker’s Barbara DeMarco hits the mark, as well. Detective Rossetti’s partner Mikey Thomas is played well by Sam Woods to round out an overall solid cast. Joe Popp as Detective Nick Rossetti is perhaps the most noteworthy of the bunch, as his character is kind of the glue that holds everything together in this production. As theater goers bounce one question or theory off the detective (sometimes with spot on observations and often quite absurd), Popp impresses repeatedly never wavering from his character and never absent of a quick, often humorous, response.

Shear Madness is also a play that can be enjoyed more than once. The story has four possible outcomes based on how the audience votes, and even if one gets the same outcome twice, you can be sure the audience participation will differ each and every time.

A unique theatre experience that has the audience laughing as much as it has them guessing, Shear Madness breaks down the fourth wall and delivers two one-of-a-kind fun-filled hours.

Shear Madness is being performed at Mercury Theater through March 29^th. For tickets and/or more information visit www.MercuryTheaterChicago.com.           

When I remember John Denver, it’s hard not to think about crisp country air, clean rivers, pristine mountains and, well, just a healthy planet. John loved nature. It was abundantly clear in his music. His life was cut short at just 53 years old when a plane he was piloting crashed into Monterey Bay, but the folk and country singer left quite an impression on the world in his four decades with not only the music he wrote and performed but also his work as an activist and humanitarian.

In Almost Heaven, a musical revue created by Harold Thau, the singer’s longtime manager, John Denver’s life and music are celebrated in brilliant fashion. Currently being performed at nearby Theatre at the Center in Munster, Indiana, Artistic Director Linda Fortunato skillfully directs this wonderful tribute as William Underwood lends his special touch as the productions’ Music Director to bring Denver’s most memorable songs to life.

(left to right) Actors Steven Romero Schaffer, Tommy Malouf, Sara Geist and Andrew Mueller - Photo by Guy Rhodes

While telling the story of Denver’s life from the start of his music career in the 1960’s through his untimely death in 1997, the musically gifted cast takes turns singing and playing songs that include fan favorites “Rocky Mountain High,” “Annie’s Song,”, “Sunshine on My Shoulders” and, of course, “Take Me Home, Country Roads”. The often-moving story touches on Denver’s anti-war stance despite growing up in a military family, his meteoric rise in becoming a household name, his marriage, his love for a rich, clean environment and the impact his music had on so many people. A particularly touching moment occurs when a letter is read from a young fan in China who shares what a positive effect Denver has left on her and her music teacher – even at a time when it was illegal to listen to his music in their country. We are also made privy to Denver’s shortcomings in his later years, since he, too, is after all human.

A rotating cast commands the three-quarter round theater. Steven Romero Schaeffer, Shannon McEldowney, Andrew Mueller, Sara Geist and Tommy Malouf each deliver strong solo and group performances, beautiful harmonies filling the venue as the five also impress on stringed instruments playing along with the Underwood-led band that also features musicians Malcolm Ruhl and Alison Tatum.

Almost Heaven is a well-crafted musical work that flows at the perfect pace while grabbing its audience from the very beginning - and it never lets go. Whether a fan of John Denver’s already or for those that have been recently introduced to his work, this production is sure to entertain and touch hearts.

Highly recommended.  

Almost Heaven is being performed at Theatre at the Center through March 22^nd. For tickets and/or more information visit www.TheatreAtTheCenter.com.

Chicago is just days away from ‘Middletown’ hitting the stage with its nearly four-week run taking place at the Apollo Theater. The play, produced by GFour Productions (Menopause the Musical and Fiddler on the Roof), kicks off on February 27^th and centers around two couples that share the roller coaster of life together – the highs, lows and in-betweens. But Middletown is different than most stage productions in that the actors read directly from scripts with minimal use of a set.

“I wanted to tell a relatable ‘every-person’s’ story in a direct and straightforward manner where human emotions are front and center – without bells, whistles, special effects, or props,” says writer Dan Clancy, best known for his play The Timekeepers, which ran Off-Broadway and in Israel for 13 years. “I wanted the words to speak for themselves.” 

The play also comes with a powerhouse quartet of actors comprised of Sandy Duncan, Donny Most, Adrian Zmed and Kate Buddeke. The talent in this show is undeniable and coupled with a work that has already received such critical acclaim (including a Carbonell nomination for ‘Best New Work’ in 2017), Middletown should be on everyone’s radar over the next couple of months.

A fan of his while growing up, I had the chance to catch up with cast member Donny Most fresh off recording some new tracks in Nashville for his upcoming album. Most, probably best known for his role of Ralph Malph on Happy Days, has not only left an impression with his acting work, he has also worked behind the camera as a director. But perhaps most impressively (this coming from a fellow musician), Most has recorded a handful of albums, his latest ‘D Most Mostly Swinging,’ an ode to the standard singing greats. Most, who began studying music at an early age, clearly has the chops to take on such a monumental task, even taking his act on the road with ‘Donny Most – Sings and Swings’ tour. 

Most’s career is well-rounded, and he really seems to enjoy the change of pace. Looking forward to taking the live stage again and spending time in Chicago, the veteran actor/musician talks Middletown, his path into both an acting and music career and even has some fun stuff to say about his Happy Days pals.  

Ken Payne - Thank you for giving me the opportunity to chat for a few minutes. I’ve been looking forward to this and it’s a thrill to speak with you.

Donny Most - Sure. I appreciate that. Thank you very much.

Ken - Oh, you bet. So, I read that you originally started out studying engineering and then went into business. And then I saw that you landed Happy Days on your third audition and what was that like?

Donny - You have some of it right, but you are missing some key elements so let me expand the picture a little bit. What happened was, I grew up in Brooklyn, New York and at a pretty young age I started really wanting to pursue acting, singing, all that. Initially, I went to a private studio in Manhattan to a class to learn singing and dancing and acting. I was like thirteen, fourteen years old when I got picked to be part of a professional revue they put together with the teenagers and I was singing in the Catskill Mountains one summer at all of those nightclubs up in the hotels for the summer. So, I was really going after it from a pretty young age. Then I switched my gears after that summer and started working at an acting workshop and it was a much more serious class than I had been doing previously. The one prior to that was more focused on music.

Ken – So quite the switch of direction at that point.

Donny – Right. So now I was switching my focus to acting. I was in this class for a couple of years while I was in high school. Through that teacher, I was introduced to a manager and I started going out on auditions in New York and read a lot of commercials. I did about 40 commercials over the next four years, and some of that was while I was going to Lehigh University in Pennsylvania. So, I was involved in a theater club at Lehigh and was driving into Manhattan a lot for these auditions and doing commercials and back and forth a lot. I got my engineering and business degree because my parents wanted me to have a college degree - and something as a backup, as opposed to majoring in theater. After my junior year, I went out to California for the summer to make some contacts for after I graduated. I wanted to expand the possibility because most of TV and film was being done in LA and not in New York, so I wanted to have that as an option as well. So, I went to Los Angeles for the summer, went on auditions and landed a few guest starring roles. I was supposed to go back to Lehigh for my senior year after the summer, but the agents convinced me that I had some good momentum going and that it would be silly to stop that flow. “Take six months off of school. You have something cooking, let’s see where it can go.” So, I did. I decided to take six months off and stayed out in LA and landed another role. And then I got nothing for several months and I thought “oh, I made a big mistake,” but then the audition came up for Happy Days. I think the three that you mentioned is because I went back a second time and then they called me back a third time for a screen test. But I had already landed guest starring roles on three other shows before Happy Days.

Ken – Gotcha. Your Wikipedia page makes it sound like you jumped into Happy Days out of nowhere. I was like WOW, that’s pretty fortunate!

Donny - Yeah, Wikipedia page… I thought I should fill in the blanks.

Ken - It sounds like you were into music at a very young age and I noticed that you tour as a musician with ‘Donny Most Sings and Swings’ - which I thought was super interesting. You cover many standards, which is one of my favorite types of music and I thought that was fascinating.

Donny - Great!

Ken - Is that something you are still doing today? Touring as a music act?

Donny - I am still doing it. I haven’t been doing it quite as much as I was about a year or two ago because I got very busy with film projects and other theater projects. I was doing a movie over the summer in Michigan called Lost Heart with a great production company called Collective Development, Inc. It was my second film with them. I also acted in a film with them a year ago called, MBF: Man’s Best Friend, which was actually just released a month ago on Amazon Prime. It’s a really interesting film. Pretty powerful movie and I play a defense attorney defending a wounded vet in the film. It’s a dramatic role and completely different from my past. After Lost Heart this past summer, I did the play Art up in Canada. And then I came back and did a little more music. I did a show a few weeks ago, a cabaret in New York, for two nights. And this past Friday night, I was a guest with Linda Purl, who I’ve done some shows with. She is an actress/singer, as well. So, I’m still doing music but not as much only because I got busy with a few different projects. And now I’ve got Middletown coming up. On that note, I’m near Nashville and I just came out of a meeting because I’m recording with a producer here. We are having a session tonight. We have done four songs so far and I’m doing another four this week. And after Middletown in Chicago, I’ll do the last four songs. So, yeah, I’m juggling the singing and acting, which I love. I love mixing them up and going from one to another.

Ken – We’re certainly looking forward to having you in Chicago. As far as Middletown goes, what was it that attracted you to work on that project? I know the play has a stellar cast with Sandy Duncan, Adrian Zmed, Kate Buddeke and yourself.

Donny - The play is the thing. I really liked the play a lot. And I’ve also worked with Adrian before. See, we’ve done this play in the spring for the first time at a theater in Las Vegas, The Smith Center for the Performing Arts. I did it with Adrian and then we did it at Bucks County Playhouse in Pennsylvania and now we are doing it in Atlanta for a week and then coming to Chicago. I’ve done a tour with Adrian, a Broadway tour of Grease years ago, and Adrian and I have also played ball together- we are on the same softball team. So, I knew it would be great to work with Adrian. I have not worked with Sandy, but I’ve heard great things about her, as everyone knows with her reputation from people who have worked with her. And the play itself, more than anything, because if you don’t like the material, you know, it’s nice to work with friends and people you like, but you have to love the material. So, it’s really a wonderful play that takes you through so many different emotions. There is comedy and then there are very heartfelt moments and very dramatic moments in the play. I think it’s something so many people will relate to.

Ken – Based on what I’ve read about it, I think you’re exactly right when you say the play will hit home for many theater goers.

Donny – For sure. Middletown is about two couples who have been friends for 30 something years and they have dinner every Friday night. You see them at the beginning when they are a little older, but then you go back to see how they became friends and the audience goes on this journey with them as they go through life whether it be their friendship, and having children, and marriage challenges, and then getting older and dealing with all kinds of things. It’s a real rollercoaster. I love that kind of material where it runs the gamut. It’s not just a comedy. It’s not just a drama. It’s like life is- it combines the two in a way that is very fulfilling. So that’s the main aspect. And also, that they are doing the design of the play was not to do it - you know how Love Letters was done by the actors reading the script. It’s similar in that regard. We are reading. There is some staging and minimalist kind of staging, but it’s pure. It’s pure storytelling with great characters and great words and great vehicles for actors. So that was interesting to me to do it in that manner. It really works. I didn’t quite know what to expect, but it surprised me when I did do the play how powerful it was doing it in this fashion.

Ken - So this story, about two couples meeting together for some 30 years, I looked it up and it looks like you have been married for about 38 years, if I’m right?

Donny - Yeah, it will be 38 in a couple of weeks.

Ken - Congratulations! I was wondering if this play had any parallels in your own life. And maybe that was also something that kind of grabbed your attention when considering this role.

Donny - Um, I would say that I was aware when I was reading it that I was like, “Oh wow, this is sort of uncanny about marriage and something from my life,” but there were enough moments in the play that, yes, I felt like I had experienced this, and I think everybody will have that same kind of feeling and reaction. There is something for everybody, you’ll recognize, it will hit a chord within, and you’ll have a smile on your face, with that recognition, or the pang deep down where you feel the pain and the emotion. It’s that kind of a piece. There wasn’t anything that was like, “My god, this is my story,” but there was enough in there that everybody will feel a connection to it.

Ken - When was the last time you visited Chicago and what are you looking forward to the most? You are going to be here for almost a month.

Donny - Yeah. I am looking forward to it. I was in Chicago, I performed at a place called Andy’s Jazz Club about three and a half, four years ago with the Chicago Jazz Orchestra. I always enjoyed the city very much and I’m looking forward to taking it in and being in the downtown area. You know, I grew up in New York, so it has a similar feel to me in terms of a cosmopolitan kind of a city. There is so much to do and the bustle of it and the variety of it and the food and the music and everything that a great city has to offer. I’ve had the wonderful opportunity to play softball in Wrigley Field a couple of times. Happy Days had a softball team and we played at Wrigley Field before their regular game with the Cubs. We were playing there, twice. And I was with another team called the Hollywood Allstars, a celebrity softball team that played at Wrigley Field, so I think I played at Wrigley like three times. That ballpark holds a special place in my heart, being a huge baseball fan growing up. Unfortunately, I will be there right before the new season begins, so I won’t get to go to a game, but it will just be great to be back in Chicago again. I’m really looking forward to it.

Ken - So, as far as Middletown goes, after the Chicago run, are there any plans to continue this play with the same group of actors in other locations?

Donny - They are talking to other theaters in other cities and I know they are lining them up. I think there will be a break after Chicago. There will be a bit of a break until they have coordinated them all. But the plan is to do it. The cool thing about it is when I did it in Las Vegas last spring and in Buck County, Cindy Williams played my wife and Didi Conn was playing Adrian’s wife. But they weren’t available, so in Atlanta, Didi is going to be able to do it, but then she’s not available after that. That’s why they brought Sandy [Duncan] in and a local actress that has done a ton of stuff in Chicago and stuff on Broadway, Kate Buddeke.

Ken – Sure. Kate is great. We are very familiar with her work here.

Donny – Kate is playing my wife. I’ve met her on Skype and she is lovely and I know she has done a ton of theater so I’m looking forward to working with her. What I was getting at, is that I think they will have some select pool of actors that work for this, but if some aren’t available, then you have this group doing the play in this city. And then it might be a mix and match for the next one. That kind of thing. Keep doing it and who knows, maybe it will go Off-Broadway. It’s all kind of fluid right now. I know they are lining up other theaters as we speak.

Ken - That is great to hear because it sounds like a terrific show and we are excited to have it run here in Chicago’s Apollo Theater. So, back to Happy Days because I have to ask for all the Chicago fans of that show - I was curious if you are you are still in contact with any fellow cast members at all, and it sounds like you have been with Cindy Williams.

Donny - Yeah, Anson [Williams] and I are tight, maybe tighter than we have ever been. We see each other and talk to each other all the time. As a matter of fact, he filled in for me, after Bucks County Playhouse. They had a production in Delaware, and I couldn’t do it, so Anson filled in for me for that particular run. Anson and I, we are in constant communication. And then the others - I happened to see Scott Baio just the other day. And Ron [Howard], he’s a very busy guy, but we will stay in touch by email and I’ll see him once or twice a year, that kind of thing. I had lunch with him about eight, nine months ago out in LA. And Henry [Winkler], I spoke to just about two, three weeks ago, and we are supposed to get together for lunch once I get back from Chicago.

Ken - That’s always good to hear because you watch these shows, we grow up with them, and sometimes you find out later that the cast never speaks to each other afterwards and it pops the bubble a little bit.

Donny - Yeah, we were very lucky that we had such a great relationship - and got along so well - and it was a very fortuitous casting, whatever you want to call it. You must give the Happy Days’ producers and the casting people a lot of credit. It was one of those things that happens occasionally where you bring a group of people together and they just hit it off professionally and personally - and we really did become a family. It sounds like a cliché, but it totally was the case with our group. So, we will always have that. I saw Marion Ross not that long ago and she is still doing amazingly well. I think she is 91-years-old and she looks like she could be my age. She’s amazing. We will always have that feeling. It’s almost like when we see each other, it’s like seeing your cousins and aunts and uncles, that kind of feeling. You could be away from each other for a while, but you still have that bond and you have all those feelings for each other.

Ken – Fantastic! So, I’ll just finish with one more question, I wanted to backtrack since you mentioned that you are recording in Nashville and are currently laying down some tracks and will be recording some more after this run. Are these standards that you are doing? And, when can we expect to hear the new music?

Donny - Good question. There are some standards that are going to be on this one, but not quite as much, it’s a little different. I have a CD that is out now called “D Most: Mostly Swinging” and those are all great standards with a big band and it’s “mostly swinging”. Those are all jazz standards that [Frank] Sinatra’s done and Bobby Darin and all the people that I loved growing up and listening to. What happened is I was introduced to a producer in Nashville and he saw what I was doing, and he really liked it. And when we talked and he came out to LA for something and we met, he said he thought I should do something more in his wheelhouse, but he also thought it would be a good move for me. It wouldn’t be just strictly the jazz kind of thing and that style. It’d be a little more contemporary, but we could still maintain some of the jazz feel while maybe including songs that weren’t jazz standards but were standards to my generation - songs that they were well known songs from the late sixties, maybe seventies, from  the classic rock era - open it up a little bit more so it wasn’t just the jazz standards. So, it’s a whole new thing, it’s a little different, but I’m enjoying it because we are still able on some of the songs to put in some of the jazz feel that I love. But I also love a lot of the other music. I have an eclectic kind of taste. It was a renaissance of music in the late sixties when after The Beatles and after classic rock. People were doing all kinds of mixing rock with jazz, or rock with folk, or rock with blues, progressive rock, all kinds of things. It was so experimental. So, I grew to love a lot of that music as well. It’s kind of fun for me to integrate some songs that are not part of the old jazz standards and do some of the stuff from a different era of my life. I’m enjoying that. ***

Be sure to catch Donny Most along with Sandy Duncan, Adrian Zmed and Kate Buddeke in Dan Clancy’s Middletown during its run at The Apollo Theater (2540 N. Lincoln Ave) February 27^th through March 22^nd. For tickets and/or more information visit www.apollochicago.com.

Drury Lane has wowed audiences over and over with big song and dance productions. Not only recognized for its intricate choreography, the theater has also been known for its dazzling sets and stunning costume design. From ‘42nd Street’ to ‘Singin’ in the Rain’ to ‘West Side Story,’ impressive musical stage adaptations have practically become common place. In Drury’s latest endeavor, ‘An American in Paris,’ the theatre pulls out all the stops.

Based on the 1951 Academy Award Winning film of the same name that starred dancing greats Gene Kelley and Leslie Caron along with Oscar Levant, Georges Guetary and Nina Foch, ‘An American in Paris’ is the epitome of a big song and dance musical. Taking place in Paris, where love is always the theme, the story revolves around Jerry Mulligan (Josh Drake), a vivacious expatriate who wants to make it as a painter. It’s not long after World War II and Jerry is stricken with the city and has no plans on returning to the U.S. anytime soon.  Jerry’s neighbor, fellow G.I. and friend, Adam Hochberg (Skyler Adams) is a struggling concert pianist who tells us the story - that gets a bit complicated once his long-time friend and associate, French Singer Henri Baurel (Will Skrip), and talented dancer Lise Dassin (Leigh-Ann Esty) get introduced. Turns out the three fellas all have eyes for Lise, and though they talk to each other about their newly found love, they have no idea they are referring to the same person – thus the song “S Wonderful”.

The dancing scenes are certainly the highlight in this production and Josh Drake makes the most of his opportunity as Jerry to astonish the audience with his fancy footwork every chance he gets. Though Drake’s acting comes across a bit rigid, he more than makes up for it with a strong voice and eye-popping dancing prowess. Drake is flat out exciting every time his feet begin to move. Leigh-Ann Esty as Lise also startles with her graceful moves, making the most complicated of motions seem effortless. Also, well-cast is Will Skrip as Henri who is not only very funny in the role but is capable of belting at any given moment – and does so with power and flair. Skylar Adams might just offer the best all-around performance in this dynamic musical as Adam Hochberg, giving a well-balanced display of vocal ability, dancing talent when called upon and strong acting. The already superb cast also gets a lift from Erica Evans who shines as Milo Davenport and a Drury ensemble that is ever-reliable.

Karl Green goes all out with fantastic costume design. According to an Instagram post a few weeks prior to the show’s opening, the team had already spent nearly 2,400 hours on costumes, greatly surpassing the theatre’s average of 1,000 hours per show. And it shows, with costume changes aplenty, each detailed to perfection.

The dance scenes are memorable (thanks to Dance Captain, Allyson Graves) and many of the songs unforgettable such as George and Ira Gershwin’s “I’ve got Rhythm” and “(I’ll Build a) Stairway to Paradise”. ‘An American in Paris’ is a story of perseverance, passion for life, but mostly love. 

Highly recommended.

“An American in Paris’ is being performed at Drury Lane Theatre in Oakbrook through March 29th. For tickets and/or more show information, visit www.drurylanetheatre.com.

When Tracy Letts wrote ‘Bug’ in 1995, it was an age when, yes, though conspiracy theories existed, they haven’t yet run nearly as rampant as the have since the September 11th, 2001 takedown of the mighty World Trade Center buildings in New York. Today we live in a world where conspiracies take form on a daily basis - and certainly the advances of information availability via the Internet over the past couple decades has played a big part in it.  ‘Bug’ reminds us that paranoia is nothing new and that going down rabbit holes can lead to ultimate disaster for some. But who’s to say one’s paranoia isn’t warranted – that there is some truth behind it? Perhaps partial truths lead to more truths or perhaps they become exaggerated. Or perhaps there was never any truth at all.

In Steppenwolf’s ‘Bug’ there are certainly leading moments of volleying back and forth on whether a truth exists or if paranoia-fed delusions have created a personal horror movie. 

Set in Oklahoma, we find a waitress, Agnes White (Carrie Coon) living in a roadside motel. She uses hard drugs and alcohol to get through most days and fears the return of her ex-husband, Jerry Goss, who was recently paroled from prison where he was incarcerated for armed robbery charges. While more and more paranoid with every silent phone call she receives that Jerry is near, she opens her door to a low-key drifter, Peter Evans (Namir Smallwood). He seems gentle enough. The two indulge in small talk and smoking crack and his company becomes a comfort to her. They are both lonely and she takes him in, hardly knowing him at all. Not long after a love affair begins, and then…he sees bugs…and more bugs…and then come the bites. The story quickly becomes a creepy thrill-ride filled with suspicion and government conspiracies, even touching on Bilderberg meetings, population control and the Oklahoma bombing, a tragedy that struck a particular chord with the playwright who was born and raised in the same state. It is a story about fear and trust. It is also, as Lett’s himself describes it, “a love story.”

Written to be staged in smaller theaters for a more intimate audience, Steppenwolf takes on the challenge of creating a larger production and, thanks to brilliant direction from David Cromer, who Letts calls the “greatest living director,” the theatre company pulls it off without a hitch. The play is up close and personal enough to really resonate while giving us a grand set that still puts every audience member inside the seedy motel room. Letts, a Pulitzer Prize for Drama winner, also shares his excitement of a larger venue. “’Bug’ has primarily been done in really small spaces, normally in theaters of 100 seats or fewer, so to see it in our theater with the caliber of our actors and David Cromer directing…I can’t wait,” says Letts.      

Ensemble member Carrie Coon, who previously tore it up in Steppenwolf’s ‘Who’s Afraid of Virginia Wolf?’ and was nominated for a Tony for the same role on Broadway, shows us once again why she is considered a top-caliber stage actor. Her portrayal of Agnes is nothing short of breathtaking. Coon courageously navigates this bold role with harsh demands and leaves us with a performance that is haunting and memorable but most of all real. Fellow ensemble member Namir Smallwood is also superb is his take of Peter Evans and watching him is as compelling as is gets in this thriller. So convincing is Smallwood, I could have sworn I was getting bug bites just watching him. Together, the two are a force. In addition to the dynamism of the play’s two leads, the show gets strong support from Jennifer Engstrom as R.C., Steve Key as Jerry Goss and Randall Arney as Dr. Sweet.

Though a psychological thriller, the play is not without well-placed humor. It’s got a little of everything. ‘Bug’ is just a damn good show from its suspenseful opening scene to its climactic ending. The tension throughout builds at a steady pace, keeping us in the dark just enough to continually thirst for its next moment.

Highly recommended.

‘Bug’ is being performed at Steppenwolf Theatre through March 15th. For tickets and/or more information, visit www.steppenwolf.org. 
    
 

Jeeves has returned and the ever-loyal valet is just waiting to get wealthy Londoner Bertie Wooster out of trouble – again. Quick-witted, reliable and extremely resourceful, Jeeves first order of business is always to keep a close eye on his charming and oft adventurous employer, Bertie, but in First Folio’s current production ‘Jeeves Saves the Day,’ he is tested to the fullest when Aunt Agatha and Cousin Egbert Bakewell enter the mix.

In the fifth play adapted by playwright Margaret Raether based on the ‘Jeeves’ stories created by P.G. Wodehouse (which began in 1915), chaos is afoot when Bertie desperately wants out of a marriage commitment. Rigid and stubborn Aunt Agatha will hear nothing or the sort. It’s going to take a small miracle for Bertie to get out of this one since the haughty Sir Roderick Glossip is the father of the bride to be. It doesn’t help that Cousin Egbert, loveable as he may be, is a handful of trouble and is hiding at Bertie’s home despite the family sending him to South Africa. Egbert is love-stricken after all, when a night out before his expected departure instead has him fawning over the sexy club singer Red Hot Maisie Dawson. He has no plans of going abroad now. It’s a frenzied mess and Jeeves is the only hope in restoring order to the family.

Jim McCance is a pleasure to watch as our hero, Jeeves. McCance’s droll and deadpan approach serves the character perfectly and he is a strong presence on the stage – a picture of stability amongst the disarray. Bertie is played by veteran actor and Chicago favorite Christian Gray. Gray is as dependable as it gets and delivers a remarkable performance once again. This is McCance and Gray’s fifth time performing together as the comical pair and their chemistry couldn’t be better. The two polished actors anchor a fantastic cast that includes Lucinda Johnston as Aunt Agatha, Sean Sinitski as Sir Roderick Glossop and Almanya Narula as Red Hot Maisie Dawson. Dan Klarer makes his First Folio debut as Egbert Bakewell and -wowza - does he leave an impression! Klarer’s hysterical portrayal of Egbert is something to behold. A throwback to The Marx Brothers, Three Stooges and the likes of Oliver Hardy, Klarer steals scenes throughout the entire production with one funny antic after another. Klarer not only gets to display his well-timed, comedic line delivery but coupled with a genuine knack for physical comedy, he is a force to be reckoned with. No shortage of talent here with this superb cast. 

With an arsenal of such talent at his disposal, Director Joe Foust impeccably places all the pieces together to give us an engaging production that is entertaining from the word “Go”. Performed at the impressive Mayslake Peabody Estate, ‘Jeeves Saves the Day’ is a splendid stage presentation that everyone can enjoy.

‘Jeeves Saves the Day’ is being performed at Mayslake Peabody Estate in Oakbrook through March 1st. For tickets and/or more information, visit www.firstfolio.org.

It’s time to go back to high school – for a couple hours anyway – and the year is 1959. The time for slicked back hair with full-on pompadours, bobby socks with pleated knee length skirts and hanging out at the malt shop have once again returned as Marriott Theatre has begun 2020 on a strong note bringing the classic rock and roll musical ‘Grease’ to the stage. And though maybe not quite the R-rated, profanity-laced production that first hit Chicago when it was initially produced in 1971 by the Kingston Mines Theater Company in Chicago, there is still enough teenage-driven attitude, raunchiness and high school spirit to successfully deliver the spirit of the original. 

The story, which is based on co-writer and co-composer Jim Jacobs’ own experiences at Taft High School in Norwood Park, takes place at ‘Rydell High,’ walks us through the senior year of a handful of colorful characters. Greaser Danny Zuko (Jimmy Nicholas) returns after summer break to lead the T-Birds while, at the same time, Sandy Dumbrowski (Leryn Turlington) is just getting her feet wet at Rydell, a brand-new student whose family just moved to the area. It turns out the two had a relationship over the summer while on vacation, but their stories couldn’t be more different. While too-cool-for-school Danny tells a more vulgar description to impress the gang where the two were “getting friendly down in the sand,” Sandy, intercepted by the Pink Ladies led by tough and sassy Betty Rizzo (Jacquelyne Jones) a.k.a. “Rizzo,” tells the girls a wholesome version more along the lines of meeting a cute boy, holding hands, having lemonade and staying out until 10 o’clock. Thus, explained to perfection in the show’s second number “Summer Nights”.   

Not long after, the two are beyond surprised to find out they are attending the same school, but Danny’s cool image that he holds so dearly might just get in the way of rekindling any kind of romance they once had. While centering on Danny and Sandy, ‘Grease’ also keeps us busy with plenty of T-Birds and Pink Ladies action. Danny’s second in command, Kenickie (Kevin Corbett) is building a hot rod the fellas call “Greased Lightning”. It’s a hunk of junk, but he can dream. T-Birds Sonny LaTierri (Jack Cahill-Lemme), Roger (Jake Elkins) and Doody (Michael Kuroswki) cause trouble whenever they can, talk about rumbling with other gangs (they don’t) and just love to horse around any chance they get. 

The Rizzo-led Pink Ladies take Sandy in. She’s far too squeaky clean for their taste but maybe a pajama party with booze, cigarettes and ear-piercings might loosen her up. Frenchy (Landree Fleming) wants to be a beautician and drops out of high school, Marty (Michaelle Lauto) crushes on TV dance host Vince Fontaine (Curt Bouril) and Jan (Tiffany Taylor) has the hots for Roger, a T-Bird who really loves mooning people. 

There are plenty of ups and downs along the way for these seniors and plenty of unforgettable moments take place. Director Scott Weinstein not only does a fantastic job at staging this production in the round, he gives the audience what we want most of all – a nearly flawless recreation of the hit show so many of us grew up with. William Carlos Angulo beautifully choreographs the dance numbers to Ryan T. Nelson’s musical direction, particularly in “Greased Lightnin’” and “Born to Hand Jive” and the casting is just superb. Jimmy Nicholas brings the looks, the cool and the comedic timing to pull off an admirable Danny Zuko, while Leryn Turlington delivers the sweetness and innocence (and toughness at times) needed to play Sandy. Turlington also impresses vocally, especially in the key number “Hopelessly Devoted to You”. As good as Nicholas is as Danny, you can’t have a convincing leader of the T-Birds without strong support from his gang and Corbett, Cahill-Lemme, Elkins and Kurowski are simply terrific. Each have plenty of their own moments to shine, but when together, it’s not hard to imagine these goofballs being the best of friends.

Equally impressive is the chemistry and individual acting chops of our Pink Ladies. While Jones truly does stand out in this production (her rendition of “There are Worse Things I Could Do” – wow!), Fleming has plenty of laugh out loud moments as Frenchy while Lauto and Taylor have their own scene-stealing moments. 

Garrett Lutz also makes a funny Eugene and Kelly Anne Clarke is solid as Miss Lynch, but it is Jonathan Butler-Duplessis as Teen Angel who, though not as featured as the rest of the cast, might just leave the audience with the biggest impression of all after his show-stopping performance of “Beauty School Dropout”. 

‘Grease’ is a hit for good reason. What took off from a small Chicago theater company, made its mark on Broadway (16th longest run in history) and inspired a 1978 mega-hit starring John Travolta and Olivia Newton John, has now become an iconic part of pop culture. It is a story that so many of us can relate to, no matter when we went to high school.  From real teenage moments and hysterical antics throughout from the show’s many lively characters to well-executed song and dance numbers that keep your toes tapping, Marriott Theatre’s ‘Grease’ successfully keeps the classic musical alive in their own unique way while holding onto the integrity of the show. 

The arsenal of great songs is plenty and includes such familiar tracks as “We Go Together,” “You’re the One the I Want,” “Look at Me, I’m Sandra Dee” and “Alone at a Drive-In Movie.” 

Highly recommended for those who enjoy laughing and listening to catchy music. 

‘Grease’ is being performed at Marriott Theatre through March 15th. For tickets and/or more show information, visit www.MarriottTheatre.com. 

You know it’s that time of the season when Chicago gets blitzed by one holiday production after another. And, while many of them are well done and thoroughly entertaining, there are just a few that really stand out each year. This year, one of them is ‘Irving Berlin’s White Christmas’ now playing at Cadillac Palace on a limited run that holds its final performance on December 15th. So, don’t delay and make your way over to Cadillac Palace before this enchanting, warm and dazzling production packs up for the winter.

The story begins when two talented army buddies, Bob Walace (David Elder) and Phil Davis (Jeremy Benton), entertain the troops with song and dance numbers during World War II. They proudly serve under gruff General Waverly (Conrad John Schuck) who is all business but hints a liking towards the two and their routines. After the war, Bob and Phil take off to superstar status, appearing regularly on the Ed Sullivan show and selling out houses wherever they perform. But they still feel they are in need of a sister act to keep their performance fresh. Enter Betty (Kerry Conte) and Judy Haynes (Kelly Sheehan) – two attractive and gifted singer/hoofers that are looking for their big break. A plan to unite seems to go into action when Bob and Phil hear about General Waverly’s financial woes at the lodge he had purchased years ago called the Vermont Inn. The guests just aren’t coming in like they used to. Through a bit of finagling, the four head out to Vermont to put on a show that is sure to attract guests. They even invite a team of dancers to join them for this holiday extravaganza that will be performed – in a barn.

Concierge Martha Watson (Lorna Luft) is there to greet them as they arrive and soon the plan goes into action. Young Susan Waverly (Emma Grace Berardelli and Kyla Carter alternate) also volunteers to help – and even perform if need be. The fun is just getting started.

The cast is star-infused with Conrad John Schuck (M.A.S.H., Star Trek IV and VI, Curse of the Jade Scorpion and many other TV and Broadway productions) impressively taking on the role of a General who is having a tough time relating to the world after his Army days are over. Lorna Luft (daughter of Judy Garland and Sid Luft) is terrific as inn concierge Martha Watson and is both extraordinary with her vocal talent and her comedic timing.

Jeremy Benton and David Elder dazzle in 'White Christmas' at Cadillac Palace through December 15th

While Schuck and Luft are certainly big plusses, the production’s greatest success might be in its casting of Elder, Conte, Benton and Sheehan as our four leads. David Elder (I couldn’t stop thinking of Ken Berry circa early 1960’s) and Jeremy Benton are like peanut butter and jelly and highly believable as two -long-time best buds. At the same time, Conte and Sheehan are fun to watch together, but when the four are together, it’s like dynamite. They can dance, they can sing and they inject the perfect amount of comedy into each role. Though just about every song and dance number is a highlight, Conte’s “Love, You Didn’t Do Right by Me” is sizzling while Luft’s “Let Me Sing and I’m Happy” is highly enjoyable and showcases her adept singing talent. The enjoyable, high quality musical numbers are endless as favorites “Blue Skies,” “How Deep is the Ocean” and, of course, “White Christmas are performed to perfection. Randy Skinner’s choreography is tough to beat, each routine as impressive as the last, especially the big tap dance numbers.

Produced by Work Light Productions, the creative team is unstoppable with scenic design by Anna Louizos, scenic adaptation by Kenneth Foy, lighting design by Ken Billington and sound design by Keith Caggiano. This production is full of surprises up until its very last scene and is a tremendous ode to the 1954 classic film that starred Danny Kaye, Bing Crosby, Vera-Ellen and Rosemary Clooney.

Highly recommended as the perfect pre-Christmas celebration.

At Cadillac Palace through December 15th. For more show information, visit www.BroadwayinChicago.com.

A non-traditional story about Christmas might just be becoming a tradition at Goodman Theatre. No. I’m not talking about Goodman’s masterpiece production of ‘A Christmas Carol’. For its second year in a row comes David Sedaris’ satirical, hysterical AND anything but conventional (see what I did there?) story of a thirty-something’s plight into becoming a Macy’s Christmas elf in ‘The Santaland Diaries.’

Directed by Steve Scott, ‘The Santaland Diaries’ is a fantastically told story that walks us through the holidays when a man, who never realized he needs skills to be marketable in the workplace, searches for a job and stumbles across an ad searching for elves for Macy’s. He scoffs at the ridiculousness of the ad, but then applies – and guess what? He gets the job! Great.

We are then walked through the painfully real, yet very funny, transition of a young man’s journey into elf-dom, as we are told detail by humorous detail everything from elf training to all the silly events that lead up to the big day – Christmas Eve. Each elf can choose their own name – ours chooses ‘Crumpet’. Crumpet likes his smoke breaks.

Steven Strafford excels as Crumpet. Always one of my favorite actors to watch perform, Stafford is wisely cast and delivers an engaging 70-minute one-man show that doesn’t slow down for a moment. His story telling is fascinating, his comic timing executed to perfection and, well, he’s just Crumpet. Strafford was last seen at Goodman in ‘Wonderful Town,’ but has also entertained audiences with his performances at Drury Lane Theatre, First Folio, Marriott Theatre and many more including regional tours and even a European tour of Grease. Though most remembered for his comedic roles, I’ll never forget his dynamic performance in the one-man show ‘Jesus the Jew as Told by His Brother James at Greenhouse Theater Center.

‘The Santaland Diaries’ was a breakout piece for David Sedaris who first read the essay on the National Public Radio’s ‘Morning Edition’ in 1992. In 1996 Joe Mantello adapted the story for the stage where it debuted at The Atlantic Theater Company in New York with actor Timothy Oliphant taking on the role of Crumpet. Since, Sedaris has been on quite the role as a writer/storyteller (Theft by Finding, Let's Explore Diabetes with Owls, Squirrel Seeks Chipmunk, Barrel Fever) and ‘The Santaland Diaries’ has popped up regularly during the holiday season in theatres all over the nation.

Steven Strafford’s performance is airtight and the colorful Macy’s Santaland set is the perfect backdrop for this very fun holiday story.

Highly recommended.

‘The Santaland Diaries’ is being performed at Goodman’s Owen Theatre through December 29th. For tickets and/or more show information visit www.goodmantheatre.org.