Displaying items by tag: Chicago

I have to admit up front - I am a full-on West Side Story fan girl. I have seen the movie, released in 1961, probably 100 times. I know the plot, the words to every song, the dance moves, and have viscerally felt the teenage angst that is the underlying basis of the plot...for well over 50 years. I credit Leonard Bernstein, Stephen Sondheim and the original writer, Arthur Laurents with kickstarting my love of all things Shakespeare (West Side Story is an updated take on Romeo and Juliet.) I kneel and utter multiple huzzahs to the brilliant Choreographer, Jerome Robbins who, for crying out loud - came up with moves so outrageous and fluid that every dance inspired child of the early 1960’s spent hours learning how to snap their fingers below their knees as they moved stealthily forward while trying to control their rage.

Yes, I am a fan. And as some would say an obsessively, vested fan...I can honestly state that The Lyric Opera of Chicago’s production of West Side Story is spot on. It will not let you down. While it is comforting in its homage to the original Broadway play and subsequent movie, it adds some little idiosyncrasies of its own that makes you nod and realize that yep, this stuff is still going on-500 plus years after Shakespeare conceived of star-crossed lovers and the intolerance of bigotry.
Now, down to the meat of this production.

Mikaela Bennett as Maria, displays the full range of emotions of a young, protected yet curious girl, new to the reality and struggle of leaving her home and trying to break free to embrace her pending adulthood and new life. Ms. Bennett’s vocal range is mesmerizing. She has a clarity to her notes you rarely hear outside of traditional opera. She also personifies the innocence and joie de vivre of a girl stepping forward to become a woman. She is a lovely actress, and her Maria goes deep to the heart.Corey Cott, as Tony steps up into the role that Richard Beymer stamped into our consciousness. He steps up, and over. Realistically, the role written as Tony is kind of light, dialog-wise. But Mr. Cott’s voice is so deceptively amazing, it leaves one almost breathless. The man has mastered the “Devil’s Triangle” of notes. Kudos, Sir. You made us cry.

Amanda Castro as Anita is edgy, punky and truly inhabits a proud Borinquena taking control of her life and love. She has the fricative vocal ability to really emphasize her strength and make you feel that whatever comes out of her mouth should be stamped with an exclamation point!
Manuel Stark Santos as Bernardo, though he doesn’t really have any musical solos-is a presence on stage in and of himself. His big brother slash gang leader is dominating and realistically embodies the macho-ness of Hispanic culture. This is no George Chakiris in brown face...this is an actor who shows us on stage what cultural machismo entails.

Brett Thiele as Riff is more talented, vocally pleasing and better looking than the movie version. He shows us a few more layers into a character that has been generally portrayed as depth-light.

The remainder of the cast is talented and on point in their portrayal as followers to the main characters. All are in of themselves wonderful singers and dancers, and they do this production proud.

The production and stage crew were fluid, efficient and cohesive. I really enjoyed how symbiotic the set changes were. It’s probably one of the more demanding jobs and they did it faultlessly.

Lastly...the orchestra conducted by James Lowe was, as to be expected - stellar. Ladies and gentlemen, you took my breath away.

All in all. I highly recommend The Lyric’s production of West Side Story. For a tragic story, it left me full of joy.

Through June 2nd at Lyric Opera of Chicago.

"If you're not going to grow then don’t live," says Hazel in Lucy Kirkwood's play 'The Children' now running at Steppenwolf. Directed by Jonathan Berry, 'The Children' makes its area debut after extended runs on Broadway and West End. A well-cast trio of Chicago favorites will surely entice audiences.

In 'The Children', Hazel (Janet Ulrich Brooks) and Robin (Yasen Peyankov) are living in a seaside cottage on the English countryside. The location and set seem idyllic until a surprise visitor Rose (Ora Jones) comes to ask a favor. Soon we found out that they have been forced to relocate after an accident at the power plant they used to work for. In witty dialogue, Hazel and Rose discuss their current lives after having not seen each other in years. Both are older and are easing into lives of comfort in their late middle age. Hazel is impossibly optimistic and in a constant state of self-improvement, while Rose has grown cynical about the end years of her life. Robin is somewhere in the middle, literally as it's quickly revealed there's old passion between he and Rose.

It's hard to think of a play that addresses climate change and nuclear disaster quite like 'The Children'. In fact, the playwright said she struggled to think of a compelling way to relay the horrors of climate change while the whole world does nothing. Theatre is a difficult medium in which to teach scientific facts. Instead, Kirkwood focuses on character. This is a story about three characters each unique in their outlook of death.

Since this play is so reliant on character, Berry is wise to bring in heavy hitters Janet Ulrich Brooks and Ora Jones. Both have such commanding stage presence and likability that audiences are drawn in from the very first word. There's a comforting quality to Brooks' Hazel that soothes the harsh realities of rising sea levels. Jones walks a difficult line with Rose, she's able to make extremely unpleasant subject matters humorous.

'The Children' is an intimate play the confronts the issues facing humanity head on. Kirkwood isn’t afraid to touch on subject matters that make you squirm in your seat. She's taken an event like the Fukushima disaster in Japan and put it right in the western world's lap. Without being preachy, she spins a story that ordinary Chicagoans can see themselves in. While it may not be a direct call to action, it's strongly encouraged here. Despite the darkness, she gives her play an optimistic ending. As long as there are good people, there is hope.

Through June 9th at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650.

I saw this adorable show on the night of the recent APRIL snowstorm in Chicago and, as per usual, the Fab Four - Dorothy, Rose Blanche and Sophia - instantly warmed up my night with explosive laughter! 

“Golden Girls Vol. 3” features two great episodes, the first being "Caged Miami Heat" - where all of the Golden Girls get thrown in jail for possibly killing their cook, Coco. The second episode is “Murder on the Sicilian Express,” a delightful Murder She Wrote/Golden Girls crossover episode which include the fabulous real life singing and dancing skills of Hell in a Handbag star and director David Cerda as Dorothy, Ed Jones as Rose, Ryan Oates as Sophia and Grant Trager as Blanche. 

Ed Jones as Rose was especially daffy and blonde on this night and stole the show with one spot on impersonation of Betty White after another - just divine!

As with all Handbag productions, the laughs are rapid fire thanks to hilarious scripts and the talented cast members that just keeps getting better and better with every show. This team just never stops pumping out ridiculously funny productions, “Golden Girls Vol. 3” coming fresh off a fantastic run of Poseidon! The Musical” at Edge Theatre.

 
If you haven't been to Mary's Attic in Andersonville to see one of the “Golden Girls” productions, you are missing out on the best camp in Chicago. Hell in a Handbag is always a good bet to give more bang for your buck in the theater because every show they do is FILLED with great laughs, fun audience interaction, and a nice relaxing intermission to change your Depends, or grab more drinks and delicious food from the bartenders and staff at Mary’s Attic and Hamburger Mary's.

Highly Recommended for good, clean, naughty fun! 

“Golden Girls Vol. 3” is being performed at Mary’s Attic in Andersonville through August 31st. For more info on what could be the hottest ticket this summer, visit www.handbagproductions.org.

Chicago Opera Theater presented the new opera, Moby Dick, by Jake Heggie and Gene Scheer, in a brave, intelligent, and strikingly beautiful performance last Thursday at the Harris Theater in Chicago. Usually, the old adage that “the whole is greater than the sum of the parts” seems well suited to most COT productions, but what can one say about a production in which all of the parts were truly excellent, yet the work itself did not quite live up to its disparate elements? Moby Dick is a well-crafted, entertaining and enjoyable opera, performed with a wealth of talent in an impeccable production, yet it never delivered the impact which could be expected from such an epic work of literature. Perhaps it is like Shakespeare’s “King Lear” in that respect, a work which is so epic, and which has a central character which is so complex that it defies transliteration. Even Verdi wouldn’t touch it. There are a few epic operas which have complex characters, Verdi’s Don Carlo and Samuel Barber’s Anthony and Cleopatra come immediately to mind, but there are many epic operas whose characters are not that complex, and there are many complex characters in operas which are not particularly epic in scope. It is really, really hard to do both.

Jake Heggie is an immensely popular, talented and accomplished composer. His canon of nearly 300 art songs has become a staple of the vocal repertoire, and his operas, such as Dead Man Walking, have achieved worldwide acclaim. However, with Moby Dick, while Heggie has mastered the musical language of opera, it seems as though he has not quite found his full operatic voice. Every scene is beautifully written, well suited to the human voice, gorgeously orchestrated and theatrically complete, much like an art song. However, they are more like individually luminescent pearls, rather than one magnificently encircling necklace. Heggie’s music is through-composed, yet the scenes feel as though the next one is of a different style, almost as though it was from a separate work, than the scene before. There is a jumble of styles which are reminiscent of Vaughan Willams, Britten, Stravinsky, Rutter and even the film score of “Lawrence of Arabia”, among a number of others. The result is that moments of tension are lost in transition between scenes, and the work as a whole never achieves the overall dramatic arch leading to the penultimate scene’s destruction of Ahab and his ship. This may be because it is never made clear what the opera is really about, or how any of the several relationships which are explored effect the others in driving the dramatic action to its tragic end. Is it about Starbuck’s struggle with morality and opposition to Godless authority? Is it about the friendship between Ishmael (here called Greenhorn) and Queequeg which bridges racial and religious chasms? Or is it really about Ahab’s self-absorbed and tragically maniacal obsession with exacting his revenge upon the great white whale? Whatever it is about, the audience should have walked out feeling as though they had just been kicked in the gut, not as if they had just seen a Broadway musical. It all seemed rather sanitized and prepackaged to please, rather than move or challenge the audience.

The tragic character in Moby Dick is without question Captain Ahab, with his unreasoning and implacable hatred of the “fish” which took his leg. Ahab’s manic-depressively single-minded focus upon finding the whale is the force which provides the dramatic tension in both the novel and the opera. Although he gave a splendidly well sung performance, Tenor Richard Cox seemed much too well adjusted and reasonable, portraying only a hint at the driving compulsion which takes Ahab and all the men of the Pequod to their watery graves. His aria, “I leave a white and turbid wake” eloquently explained his morbid fascination, but did not express its inherent dread.

Providing the foil to Ahab’s insane fixation, Aleksey Bogdanov as Starbuck was spectacular. Possessed of a booming, velvety smooth bass-baritone voice which easily soared through heavy orchestration, Bogdanov’s performance was powerful, committed, and nuanced. Bogdanov has the kind of voice usually associated with villains, such as Scarpia or Iago, yet his Starbuck was approachable and sympathetically touching.

As Greenhorn (Ishmael), the sweet-voiced tenor Andrew Bidlack was ideal. His thoughtful portrayal progressed from the naïve and unexperienced youth in search of knowledge of the world to the emotionally savaged sole survivor of the voyage with honest sincerity. Wallace’s Greenhorn was the mate every sailor wishes to have as his fellow oarsman.

Bass baritone Vince Wallace as Queequeg was exuberantly vigorous and entertaining, while never allowing the character to become a parody or stereotype. His straightforward humanity provided the structure for Queequeg and Greenhorn to bridge their cultural and religious divide and forge a deep friendship. However, Queequeg’s mysticism which foresees his death and the tragic confrontation with Moby Dick, is rather strangely portrayed as a heart attack, not as the ennui resulting in a spiritually broken heart. Perhaps the composer or director didn’t feel that having Queequeg simply waste away from a broken heart would be obvious enough to hold the audience’s interest.

A curtain speech announced that role of Stubb would be sung by cover Nick Ward. This is usually an ominous sign that the audience should be prepared for a somewhat under-rehearsed and tenuous performance. Not so, in the case of Mr. Ward. He sang impressively, and danced and cavorted around the stage with assurance and gusto, providing a great deal of comic relief with his sidekick Aaron Short as Flask. The physicality of the two was amusing and impressive.

The music for Pip requires the powerful adult voice of a pants role, and as the cabin boy, Summer Hassan sang with a luminous voice, soaring above the combined forces of the all-male chorus and orchestra. Equally impressive were the other male soloists and chorus. Each one was an outstanding singer and actor. They were supported by four male dancers who provided vigorous physicality to many scenes. Chicago Opera Theater does not have a full time professional chorus like the Lyric Opera of Chicago, so to be able to bring together an ensemble of such high quality speaks volumes concerning the commitment of the company to the highest performance standards. Kudos go to Chicago Opera Theater for its casting choices.

Those high standards are also demonstrated by the striking, and extremely functional set by Erhard Rom (whose remarkable whale’s eye at the end was a stroke of genius), the effective, yet atmospheric lighting by David Martin Jaques, and the clean and imaginative stage direction by Kristine McIntyre. McIntyre is a director who truly understands the unique needs of opera and opera singers, never pandering to the audience with unnecessary stage business or requiring the actors to go beyond the limits of good singing. Everything that happened on stage was both interesting and important. However a curious statement in the director’s note in the program may explain the seeming ambivalence of the opera. Ms. McIntyre states, “At its core, Moby Dick is a story about friendship.” While it is certainly true that the friendship is an important part of the story, and we want to find some form of redemption and growth of the human spirit in the story, it is not the driving force which impels the drama or precipitates the tragic end.

Moby Dick was masterfully conducted by Lidiya Yankovskaya. Under her baton the 60 piece orchestra played beautifully with a sumptuous sound. The one quibble is that with such dense orchestration at the beginning of the piece, the really loud playing might have been restrained so that the climax could have been more effective. By the end, the loud bits had become a bit tiresome. However, that is by no means entirely the conductor’s fault. The positive influence of Ms. Yankovskaya’s direction continues to impress in a business which is highly competitive for better orchestra players. Again the commitment to excellence from COT is to be commended.

The first time I saw ‘A Chorus Line’ was when I worked backstage for a touring production while I was in college. Perhaps it was my youth, or perhaps it was the fact that I was in the midst of the hustle and bustle of the fit and fabulous cast, but at the time, the show struck me as one of optimism and youthful energy. But all these years later, Porchlight Theatre’s current — and fantastic — production Michael Bennett’s classic look at the often-anonymous dancers on Broadway’s stages held a much different meaning for me. Instead of just being wowed by the performers’ talents, I really understood their pain and the lives they’ve lived on said stages — in the words of the number “At the Ballet”: “It wasn’t paradise, but it was home.”

I realized that part of that is the brilliance of the show, itself — that it acts every bit as its famed mirror backdrop, reflecting the audience members’ experiences and baggage back at them. But this depth also comes from this brilliant cast and their brilliant performances brilliantly directed by Brenda Didier. Of course, the talent is youthful and top-notch, as it must be for such a classic show. Christopher Chase Carter’s choreography populates the stage and pleases the eye, while the music propels things, thanks to Linda Madonia’s direction. Matthew Weidenbener gets things going with Mike’s Vaudevillian number, “I Can Do That.” Ayana Strutz’s Connie Wong confidently struts and fills the stage despite her diminutive stature. Terrell Armstrong’s Richie wows with his acrobatic dancing. While the show’s one about dancers, not singers, much of the cast has pipes aplenty — Taylor Lane and Aalon Smith’s vocals stood out, and Grant Carriker’s and Chloe Nadon-Enriquez’s married duet “Sing!” was flawless (although Nadon-Enriquez’s Kristine is not supposed to be able to sing). As far as vocals go, Adrienne Velasco-Storrs’ Diana got the show’s two big opportunities to sing — Marvin Hamlisch’s standards “Nothing” and “What I Did for Love” showed that she can sing and brought the house down, as they’re supposed to do.

But, again, it was the sadness, the weariness, and the experience that shone through to this weary and experienced version of me who attended this version of ‘A Chorus Line,’ and that was as much thanks to the performers’ take on the material as the material itself. Of course, Paul’s iconic monologue, here delivered with all the feeling one would expect by Alejandro Fonseca, manufactures emotion. But Erica Evans’ world-weary Sheila, looking for one last shot on the line, provides those same feels from start to finish; I couldn’t take my eyes off of her. Natalie Welch’s Val also draws the eye, even before her showstopper “Dance: Ten; Looks: Three,” although Welch’s age is a bit on the young side for the veteran Val. But while Val’s at last got the “it” she needed to succeed and Sheila laments the “it” that once made her successful, both of these actresses definitely have “it.”

But the real It Girl in this show is Laura Savage’s Cassie. The red dress draws the eye, of course, as does her constant backstory back-and-forth with director Zach, given both authority and empathy by Richard Strimer. But it’s the mix of confidence and brokenness that Savage brings to the role that did it. Only after the show did I learn that Savage, during last year’s Marriott Theatre production of Newsies in which she dazzled with her dancing, seriously injured herself, and has only at last recovered enough to lead this production. But lead it she does, shining as the starlet who’s looking to start back at the beginning, and who’s looking at herself in that mirror she sings about. And it is Savage’s Cassie, I guess, that spoke to me the loudest and most longingly, that gave this show the depth it was meant to have, and that most brightly shined, to myself and the rest of the audience, during this breathless, breathtaking, and unbeatable take on a timeless Broadway tale.

Through May 31st at Ruth Page Center for the Arts.

If you follow the Chicago theater scene, you’ve likely heard about local playwright Ike Holter. His Rightlynd series has been appearing in near rapid succession at various theatre companies around town. The Rightlynd saga concludes its seven-play series at the Goodman in a new play called 'Lottery Day'. Accomplished local director, Lili-Ann Brown and a cast of entirely Chicago faces make this production an authentic experience.If you follow the Chicago theater scene, you’ve likely heard about local playwright Ike Holter. His Rightlynd series has been appearing in near rapid succession at various theatre companies around town. The Rightlynd saga concludes its seven-play series at the Goodman in a new play called 'Lottery Day'. Accomplished local director, Lili-Ann Brown and a cast of entirely Chicago faces make this production an authentic experience.

Rightlynd is a fictional ward on Chicago's south side that has undergone many changes as a result of gentrification. In 'Lottery Day' many characters from the rest of Holter's plays gather for a final barbeque in matriarchal character Mallory's (J. Nicole Brooks) backyard. This isn’t just any barbeque for Mallory, she's decided to play a little game with her ten guests. One of them will leave with a large sum of money. 

'Lottery Day' plays out like peak-era Edward Albee. The structure of the game and the poetic ways Holter's characters play verbal tennis make this a satisfying watch. Often playwrights miss the real spirit of Chicago. Holter hits Chicago life on the head for anyone who's spent a good chunk of time living here. That spirit is further distilled through the lens of particularly underserved citizens. Local references don't feel clunky or jammed in. These are conversations you'd really hear. 

An all Chicago cast gives this play an edge. Here are actors who are not only familiar with each other but have a palpable chemistry. Within minutes of McKenzie Chinn's entrance as Cassandra, she shares a touching moment with Mallory. A simple gesture of affection feels so real that it makes you misty. Sydney Charles takes most of the laughs as Zora, but again, her scenes with Chinn feel so real you'll want more. There's not a bad performance on this stage. This cast is having so much fun together, it's almost an invitation for the audience to join their party. 

'Lottery Day' is an exciting moment in Chicago theatre. It seemed like everyone in the intimate Owen space was having a good time. The laughs and celebration of Chicago, as well as urban life, create a sense of community in the two-and-a-half-hour production. Those with a deep knowledge of pop culture and theatre in general will find plenty of shout outs to chuckle about. See this play if for no other reason than it will give you compassion for everyone you encounter in a day in this unique city. 'Lottery Day' is a love letter to a Chicago we are losing year by year as neighborhoods go from bad to "safe". 

Through April 28th at Goodman Theatre. 170 N Dearborn. 312-444-3821

Rhythm is an essential part of life. We wouldn’t exist without it. It all starts with your heart beat. That is the origin of rhythm really. And Djembe! The Show at Apollo Theater is all about the rhythm – and it’s informative. I really enjoyed learning how the djembe was used throughout musical history.

Djembe! was almost like a workshop at times. Drums are located at each audience member’s seat. The show was emceed by Ben Hope. Hope, along with the rest of the ensemble, taught the audience about the rich history djembe drumming. I didn’t realize this was actually a touring road show until yesterday. I can just imagine packing all those drums away after every show! Hopefully, Djembe! sticks around for a while because it is truly worthy of a long run.

The band in this show was fantastic. Fode Lavia Camara was the Djembe Fola, or “master”. He led the drumming for the most part although all were involved. The band was rounded out with bass guitar, keys and drums. All were musicians are very talented players.

Rashada Dawan handled most of the lead vocals. She wore a variety of costumes to illustrate the influence of djembe rhythms through musical history. Her voice was amazing. She also helped emcee the show.

When it all is said and done, we learn that a lot of the rhythm we take for granted in music is African in origin. It is interesting to see the influence of these rhythms on everything from Pop to Classical Music. This was all about the Djembe, but it translates to other instruments and even voices, and a show like this is great mind food for musicians. Us musicians need to constantly feed our minds with information. But it is the entertainment value in Djembe! that makes it fun!

This is a show one could see again and again. In fact, I am tempted to take a friend there who I know would really like it. You would too. Nothing makes you feel better than beating a drum. Bring a friend. Make a friend. It’s a celebration of life. This would be a great show to take your kids along. It’s a lot of fun.

Djembe! The Show is currently being performed at Apollo Theater.

For more information on this unique experience, visit www.djembetheshow.com.

In the newly re-imagined Pinocchio, the House Theatre has done what it does best: bring out a childhood favorite and give it a fabulous makeover. Directed by Company Member Chris Mathews, Carlo Collodi’s classic tale is taken on a wild ride (adapted for the stage by Joseph Steakley and Ben Lobpries). The House’s Pinocchio is decidedly different from the one we grew up with: he’s bookish, has photographic memory, a penchant for grammar, and a razor-sharp wit that often comes in handy. But he’s made of wood, and he is not like everyone else in that little town, so his gloomy Papa Geppetto (Molly Brennan) becomes fiercely protective of him. Nevertheless, Pinocchio is a clever little wooden boy; he’ll find a way out of the house and into the world full of wonder. Armed with wit, book smarts and hunger for musicals, he sets out to explore the world outside of the house windows. But he soon finds that the real world is filled with mean school children and close-minded townspeople. In fact, this town happens to be an oppressive place, fearfully intolerant of anyone different and anything that they cannot understand. Thus, Pinocchio, much like his unusual Papa, is persecuted and forced out, or at least attempted to.

Animating and voicing Pinocchio-the-puppet is a very talented UK-born guest artist Sean Garratt. Garrett’s Pinocchio is emotional and lively, the two of them soon practically fuse into one and the same. They move seamlessly about the stage, occasionally helped by the cast members, mostly when more complex movements, such as running or dancing, are involved. As nearly always the case with House’s high energy productions, Pinocchio requires carefully executed stage choreography; the flow of movement here is effortless (choreographer Kasey Foster). 

Other amusing characters in the play include mean-spirited schoolchildren Kitty (Carley Cornelius) and Dingo (Omer Abbas Salem), who let their teenage frustrations out on poor unsuspecting Pinocchio; dyslexic and goofy town deputy Doohickey, played by Kevin Stangler, and a very proper schoolteacher Miss Penny (wonderfully played by the Company Member Christine Mayland Perkins). There’s always live music on stage, whether just a simple banjo sound accent, or a full-on musical number, performed by Mike Mazzocca and Tina Munoz Pandya (music by Matthew Muniz). 

Witty writing makes use of the language nuances, so the audience gets numerous lessons in grammar and vocabulary, but most importantly, Pinocchio teaches us all a lesson on kindness, tolerance, and the importance of being true to oneself.

Through May 19th at Chopin Theatre - https://www.thehousetheatre.com/.

This was my first time seeing any production of ‘Jersey Boys’ and I was so taken by the music and drama of the show I went to see it again closing night - and I'm so glad I did! 

I learned so much about Frankie Valli and The Four Seasons. Here’s an interesting tidbit - they originally called themselves The Four Lovers! I haven't heard their music on the radio in a long time and hearing their songs performed so well made me realize how many of their hits shaped my view of romantic love as a child. 

“Can’t Take My Eyes Off of You” as done by this tremendous cast was a soaring delight, and one of the reasons I saw the production twice with those spectacularly romantic lyrics of pure devotion. 

“You're just too good to be true

 I can't take my eyes off you

You'd be like heaven to touch

I wanna hold you so much

At long last love has arrived

And I thank God I'm alive

You're just too good to be true

Can't take my eyes off you”

 
“Big Girls Don’t Cry,” “Oh What a Night,” “Walk Like A Man,” “Sherry” and ”Working My Way Back To You" were so much fun to hear again, especially when learning some of the back stories on how they were written and for whom. 

I was sad but not surprised to hear that like most musical groups at that time and now, The Four Seasons were forced to tour so much and were taken advantage of financially in various ways. Pressures like such caused the band of friends to break up prematurely due to the seemingly endless strains of exhaustion, loneliness along with the emotional burdens they took on, from touring in particular, as compared to staying home with their families and recording in the studio.  

The opening night performance was still fantastic! I heard some vocal shakiness here and there and saw some nervous dance energy that made the cast appear stiff in parts when trying to hit their marks with such exactness. So, I attended the next performance and the entire cast blew me away and revealed two "Rising Stars" out of the very talented 15-member ensemble. I later found out that the cast having just flown in from NY were a little tired on opening night but by the time I saw the show again, the show had gelled so well it was almost like seeing a whole new show. Audiences seeing the show from here on out have a special treat coming to their towns! 

All four leads were wonderful with Jonny Wexler as Frankie Valli, Eric Chambliss as Bob Gaudio, Corey Greenan as Tommy DeVito and Jonathan Cable as Nick Massi. The four were in lock step, perfectly executing the demanding choreography needed to recreate the band’s exciting live presence.  

The ensemble members, Ashley Bruce, Tony L. Clements, Rick Desloge, Wade Dooley, Todd DuBail, Caitlin Leary, Kevin Patrick Martin, Jeremy Startin, Chloes Tiso, Kit Treece and Jessica Wockenfuss were all dynamite as well and with production cuts each had to lay several roles and sometimes even play instruments.

The female roles in this show are mostly "thankless" cameos which don't allow for a gal to show off, but every cast member more than pulled their weight. 

Jonny Wexler made the most astounding leap from opening night jitters and by Saturday his falsetto was flawless. The gravitas missing from his dramatic scenes was in play and when I closed my eyes during "Can't Take my Eyes Off of You" I literally felt transported back in time! I felt like I was hearing the glorious impossible tones of Frankie Valli performing in his prime. 

Jonathan Cable, who is from Indiana, actually had the most NY swagger of the entire cast from night one. Cable has an extensive musical theatre background and his smooth yet masculine dance moves, growling low singing tones and wry sense of humor made him a sexy stand out that will make ladies AND gents who see this production chuckle when they remember his interpretation of bass tenor Nick Massi. 

‘Jersey Boys’ is the well told journey of how four Jersey street kids rose from neighborhood trouble makers to one of the great musical acts of their time. It’s also the story of how a teenage kid named Bob Gaudio, who penned the cheeky hit “Short Shorts,” teamed up with Valli and company, matured as a song writer and wrote some of the most memorable songs of the era.  

The pace of the show is leisurely at first then develops nicely as the backstory of each band member comes together with their own unique talents. There is a nice intermission in this two-hour-plus show which makes it a perfect date night for Broadway theater lovers - well worth the price of admission. 

I highly recommend this production of ‘Jersey Boys’ to "Lovers" everywhere for the astoundingly talented cast, dramatic staging and really heart-satisfying renditions of classic love songs that will have you floating out of the theatre on a cloud exclaiming, "Oh, What a Night!" 

'Jersey Boys’ is here on a short run through April 7th at Auditorium Theatre.

As America watches a college admissions scandal unfold in the headlines, Theatre Wit opens a revival of Joshua Harmon's early 2018 play, "Admissions". First produced at the Lincoln Center last winter, Harmon's play was definitely on to something broiling in suburban American life. This remount was announced long before the current events rendering this new work very relevant. Directed by Jeremy Wechsler, this production is another installment in Theatre Wit's original programing. 

Sherri (Meighan Gerachis) is a middle-aged prep school admissions counselor. It's her job and personal mission to increase diversity at the upper middle class school. She prides herself on increasing the quota to 20% non-white students. When her own son is rejected from Yale and his mixed-race best friend is accepted, things get tense for this family. 

"Admissions" is a one-act play that dissects the various identity politics even those on the same side can find themselves playing into. Sherri's son Charlie (Kyle Curry) has a lengthy, if not sort of racist, rant that truly poses some interesting questions about the origins of what we consider race today. And as any mother with a concern for her child's future, Sherri starts to examine her own hypocrisy for being angry about her son's rejection. The irony of Sherri's motivations underscore that college admissions are nearly as important to parents as their students. 
One of Harmon's intentional quirks in the script is that the entirely white cast is having this intense discussion about race. Characters of color are eluded to but never featured on stage. It's a good allegory for some of these complicated debates "woke" white people have among themselves. It makes you wonder about the sincerity of our so-called wokeness. 

Performances make this production stand out. The play opens on a hilarious scene between Sherri and her co-worker Roberta played by Judi Schindler. The naivete with which Schindler approaches the dialogue completely captures the way older Americans think about race, a sort of what's-the-big-deal-? attitude. Gerachis turns in a very relatable performance. She seems to know this character well and is rarely concerned with audience likeability versus getting to the truth in this well-meaning but complicated character. 

"Admissions" is a topical look at what's at stake for today's youth. On one hand we have a cultural cynicism about higher education but on the other we understand its value in our economy. As we look at the current scandal, we ask ourselves why the already advantaged need more advantage for their future. Giving extra privilege to the privileged effectively reduces the amount of seats at the table of prosperity. Harmon also understands the pressure today's teens face from an early age to succeed at any cost. This is more than a play about college but rather a play about what we take for granted. 

Through May 12 at Theatre Wit. 1229 W Belmont Ave. 773-975-8150