Displaying items by tag: Citadel Theatre

Overall Citadel Theatre’s ‘Dames at Sea’ has a smashingly great cast of singers and dancers, perfect for a musical comedy satirizing the over-the-top 1930s movies and Broadway revues that were light on plot and heavy on costumes, dance routine, and ostrich-feathered pageantry. 

That’s exactly what ‘Dames at Sea’ pokes fun at, but lovingly. It originated in 1966 as an Off-Broadway show that ran for 575 performances, and became the launching vehicle for Bernadette Peters. Set in the early 1930s, its book and lyrics by George Haimsohn and Robin Miller, fittingly for a satire, embody every theater cliche imaginable: A Midwestern chorus girl steps off the bus in Manhattan, falls into a Broadway lead, and rockets to stardom. Plot points are near memes harvested from musical extravaganzas of that decade: The star is sick! What are we gonna do?! The show must go on! Well kid, think you can do it?! What choice does any trouper have?! 

Melody Rowland as Ruby and Beck Hockason as Dick in "Dames at Sea."

Six decades later, it’s still totally fun, the comedy broad, the exposition minimal, because we already know the story. Choreography is great, though heavy on the tap shoes, and lilting, lovely choral singing, to boot.

The melodious score by Jim Wise pairs beautifully with Haimsohn and Miller’s lyrics— every song is original, but they all sound like something you’ve heard before. Conjuring up Cole Porter’s 1935 “When They Begin the Beguine“ is Wise’s “The Beguine,” a deft reflection of the original, played with exaggerated passion in a singing-dancing duet by Mona (Ciara Jarvis) and Captain (Steve McDonagh). Or “That Mister Man of Mine,” which, though different and original, is reminiscent of “Can’t Help Lovin’ Dat Man of Mine” from “Show Boat.”

Ciara Jarvis as Mona in "Dames at Sea."

There are some very good voices in this show: Beck Hockason in the role of sailor Dick; Melody Rowland as Ruby, that Midwestern chorus girl; and McDonagh as Captain. Very much in the Benadette Peters mold is Ciara Jarvis as Mona. Jarvis’s acting chops shows she gets it, and she plays the inside joke to the audience effectively. Jarvis also has a wonderful, rich stage soprano,liltingly beautiful and “she’as easy on the eyes,” as a gaffer might have remarked backstage.

All this is quite wonderful, and we could call the show a great success save for one horrible aspect: sound and music. The cast was well miked, and their voices were great—when we could hear them. Unfortunately the prerecorded orchestration was played at too loud a level, at least on opening night. Rarely could singers get above and beyond it. Even so, a couple numbers succeeded, “The Beguine,” and in Act II, “Raining in My Heart,” featuring restrained musical accompaniment that for the moment was closer to balance with the live singing. 

The recording of the accompanying music was also lacking—just simply unpleasant arrangements. Combined with being too loud, it was not good. Hopefully, sound adjustments are made for future performances. And as to stage and sets, perhaps Citadel will consider relocating to a more accommodating stage. One with a true backstage, or at least the possibility of actual sets. This is merely a high school auditorium, and a wall-sized LED screen is all they’ve got for background.

Were that sound tuned, this show could be somewhat recommended. It seems a shame, with such a professional cast and the investment in licensing of a strong property. “Dames at Sea” plays through December 15, 2024 at Citadel Theatre in Lake Forest, IL.

It’s often said that in the workplace you should refrain from talking about politics and religion; too personal, too easy to offend someone. Throughout my working years the only topic of conversation that has caused controversy is that around children; Do you have any? Are you trying for one? You’re having another? Well why don’t you want a kid? They’re the best thing. They’re the worst thing. In my experience, there is no topic more invasive or sensitive topic to bring up in the workplace than pregnancy and childbirth. Oscar Wilde once said that ‘Life imitates art far more than art imitates life.’ While there is no greater culturally universal experience than pregnancy and childbirth, the way we approach these conversations has changed and should continue to change. In the artistic medium of Theatre, BABY the musical, now playing at the Citadel Theatre, neither helps to change these conversations nor helps us view our lives in a different way.

BABY the musical follows three couples on a university campus deal with the painful, rewarding and agonizingly funny consequences of the universal experience of pregnancy and upcoming parenthood. There are the college students, Danny and Lizzie (played by Ben Ballmer and Madison Jaffe-Richter), in their junior year of college barely at the beginning of their adult lives facing an unplanned pregnancy; Pam and Nick (played by Katie Engler and Mark Yacullo) the thirty-somethings, having trouble conceiving but determined to try, Alan and Arlene (played by Joe Lehman and Julie Bayer) and the middle-aged parents, looking forward to seeing their last child graduate from college when a night of unexpected passion lands them back where they started.

Originally written and premiering on Broadway in 1983, BABY was updated in 2004. Twenty years later, the play needs another revision if not retired entirely. While pregnancy and birthing is an integral part of life and universal across all cultures, this musical performing in 2024 is as dated as Hello, Dolly or The Music Man; time capsules of a bygone era that simply doesn’t resonate with audiences today as they did in the eras they premiered. The musical is predictable, filled with overplayed tropes and stereotypical cliches, but the musical is really a love letter to pregnancy which for many is not possible and not a walk in the park. There are incredible plays that look at pregnancy, birthing, and parenthood through satirical, dramatic, or humorous lenses. BABY the musical’s only lens is that pregnancy is wonderful and everyone should do it regardless of the circumstances they find themselves in, broke college student, infertility troubles, unhappy older couple, everyone should want a baby. This type of art doesn’t reflect life as it’s viewed today.

Citadel Theatre’s ensemble cast performed beautifully with the material they had to work with. The trouble is not in their musical talents or acting abilities, the trouble with BABY is it simply is outdated and can’t stand on a modern stage. The way we as a society approach pregnancy nowadays has changed. More modern musicals such as Mom! The Musical or MotherFreakingHood! approach the same conversation in a way that resonates with audiences today, steering away from tropes to tell real, raw, stories of the pitfalls, trials, and highs of pregnancy. Even with an update in 2004, it’s been 20 years since it’s been revised and 40 since it was created. Watching the play, despite the exceptional cast, staging, and direction at Citadel, it simply felt tired and outdated, and at times downright cringy. Life can be cringe but art shouldn’t be.

BABY the musical is now playing at the Citadel Theatre (300 S. Waukegan Road, Lake Forest) through Sunday May 19, 2024. Tickets are available on the company’s website at www.citadeltheatre.org.

Grab a glass of wine with me and journey with me to Paris, France 1904. We stumble in as guests to a local artist haunt in the Montmartre District and remain on the exterior of the room. It's a cozy, intimate, and simple bar, with witty, smart, and regular patrons who are tres amusant. We do not know what the evening will bring, but we’re welcomed by the barkeep and entranced by the colorful characters that enter the bar. This is The Lapin Agile.

The Lapin Agile is a comedy play written by the incomparable Steve Martin. The comedy imagines a meeting between a 23-year-old Pablo Picasso and a 25-year-old Albert Einstein at a real life artists’ hangout in Paris at the dawn of the 20th century. It’s 1904 and the two geniuses are about to complete their most significant accomplishments; Einstein’s theory of relativity and Picasso’s painting “The Young Ladies of Avignon.” They have a lengthy debate about the value of genius and talent which is often interrupted by colorful patrons of the bar.

While such a meeting between the two artists never took place, the play brings the imaginary encounter to life, giving it plausibility. Einstein, played by Mark Yacullo and Picasso, played by Travis Ascion, embodied the intelligent and charming men, exchanging witty remarks about the others’ occupation and trade. With smart jokes, witty comebacks, and hilarious moments, the play delves into meaningful conversations where two seemingly opposite geniuses in their own rights find commonality in the power of their imaginations and how their pens allow them to transcend modernity.

The Lapin Agile is a real bar in the heart of Paris. Located in the Montmartre arts district, this bar was famous as a local artist's haunt drawing in many famous names in art, music, literature, and more. The Citadel Theater brought the charming 20th century haunt from Paris to its modest stage, nestled in the charming town of Lake Forest just North of Chicago. The ensemble cast provided the perfect enchanting bartenders, servers, and patrons, much like one would encounter in a real Paris artist’s bar. The play was surprisingly and consistently funny, lose focus for a moment and you might miss a subtle joke about Euclidean geometry or a playful jest about the French. The ensemble cast skillfully breaks the 4th wall, never stepping out of character or the Paris district they were playing in, in fact you were tempted to ask the barkeep for a drink to share with the cast.

At its heart, The Lapin Agile imagines the possibility of sitting in a quiet bar at the turn of a century and allows you to imagine what could be. What could be beautiful, revolutionary, colorful, loud, and what could break through the realm of possibility, even transcending time and space. It’s a beautiful play, performed by a talented cast, in a surprisingly charming theater.  

The Lapin Agile is playing at the Citadel Theater, located at 300 S Waukegan Road, Lake Forest, IL through May 22, 2022. Santé!

Yes, Happiness Is… The Peanuts! No doubt. As a kid, I read every Peanuts comic I could. I learned at a very early age that there is a little bit of all the classic characters in every one of us. This musical is fairly early in the history of character development for the creator, Charles Schultz. The story revolves around six Peanuts characters in ‘You’re a Good Man, Charlie Brown’.

First up to bat is also the manager of the little league team - the title character Charlie Brown. Charlie is good kid, but his own inferiority complex often gets in his way. Neil Stratman does an above average job of becoming Charlie Brown. He was a good fit for the role and really brought the character to life in a memorable way.

When it comes to casting for this production, there are a lot of good fits and Sierra White as Lucy Van Pelt is excellent. She captured Lucy’s cynical, crabby persona. The Psychiatrist bit never gets old and still cracks me up. And when you think about it, the discourse between characters offers some intelligent language coming from eight-year-olds back in the day. The dialogue was right where Schultz left it, too. As a Snoopy aficionado I appreciated that.

Lucy had a fondness for music? Well, maybe but she does chase after Beethoven’s greatest fan. Schroeder is played by Jimmy Hogan and provides more of classic Peanuts material we’ve all come to love over the years. Hogan gives us a nice portrayal as the boy too busy playing the piano to notice Miss Van Pelt.

As comic strip fans know, Lucy has a younger brother named Linus. Marcellus Burt plays the role, though as a huge Peanuts fan, I feel Linus Van Pelt's personality comes across a bit differently than what us old schoolers might be used - and that would be directed to the play’s script more so than anything else, though Burt nails the role he is given and is a pleasure to watch. Every member of the cast does a superb job of becoming the characters they represent and capture the main essence of each. Last night I saw a brat. Lucy was the crabby Van Pelt. Linus was a cool cat. The thumb sucking and security blanket might fool some at first from how smart this young man really is at that age. Yep, Linus is hip and completely, utterly Zen.

Linus has a big fan, too – someone who recognizes his genius and also happens to be Charlie Brown’s little sister, Sally. Alley Ellis is pretty spot on in the role. She seemed more like a teenager at times instead of an eight-year-old but some of that is the material. Shultz wrote dialogue that was very atypical for eight-year-olds.

Finally, man’s best friend. Snoopy is by far the coolest comic strip character ever. Okay, that’s just my biased opinion but who else holds a candle to a dog that can both sleep on top of his doghouse and magically transform it into a Sopwith Camel? Tuesdai B. Perri plays America’s favorite beagle. She seems to have fun with the role and captures the sarcasm that is Snoopy.

I really enjoyed myself while taking in this wonderful production that takes us on a much different Peanuts adventure. The humor holds up and still cracks me up. All the jokes I remember from reading the comic strip and books as a kid still draw laughter. This is a toe-tapping, catchy musical production with book, music and lyrics by Clark Gesner that includes solid vocal performances all around. I was very impressed and recommend ‘You’re a Good Man, Charlie Brown’ for a pleasant night of family entertainment that will have you leaving with a big smile. Hats off to director Joe Lehman, as well. The night was thoroughly enjoyable and should be on your list for holiday fun.

‘You’re a Good Man, Charlie Brown’ is currently being performed at the Citadel Theatre in Lake Forest, Illinois and will be running through December 23^rd. For tickets and/or more show information, visit Citadel Theatre.

Many of us already know the story of the spirited, loveable orphan girl who is saved from an abusive orphanage after a billionaire takes a liking to her and decides to adopt her. Daddy Warbucks is that billionaire, Miss Hannigan is the abusive, alcoholic who runs the orphanage and the musical is ‘Annie’. Yet, if you know the story or not, it is a musical that inspires, offers hope and shows us that positivity can go a long way.

Citadel Theatre, located in Lake Forest, is the latest to bring ‘Annie’ to the stage. Directed by Robert D. Estrin, ‘Annie’ is a fun production for the whole family to enjoy.

It’s 1933 and Annie (Sophie Kaegi) and her gang are often mistreated at the orphanage by Miss Hannigan (Ellen Phelps), who finds sadistic pleasure in disciplining the kids. Miss Hannigan drinks openly, flirts with every serviceman that enters the orphanage and resents Annie most of all. The only thing the kids can do is hope they get adopted and, in the meantime, praise Miss Hannigan on command and sing “It’s A Hard Knock Life” while scrubbing floors. But everything changes when a billionaire’s assistant, Grace Farrell (Chamaya Moody), drops in unexpectedly to pick out a child to spend with the powerful Oliver Warbucks (John B Boss) over the holidays. And guess who she picks? Yep. Annie.

After Mr. Warbucks takes a liking to Annie he offers to adopt her, but Annie is determined to find her real parents. So the billionaire offers a huge monetary reward to the father and mother that come forward and claim Annie as their own - though he must be careful of imposters.  When Miss Hannigan finds out the reward offerd by Mr. Warbucks, she, her jailbird brother Rooster (Kyle Ryan) and his girlfriend Lily (Becca Duff) begin scheming. But can they fool Mr. Warbucks and his sharp assistant, Miss Farrell?

Citadel makes the best of their space to accommodate such a large cast and include a changing set that that takes us from the orphanage to Warbucks giant mansion – and it works quite well. With this production you also get strong ensemble and individual vocal performances, particularly from lead Sopia Kaegi, Chamaya Moody and Bill Chamberlain who plays Franklin D. Roosevelt, Oliver Warbucks very good friend. The children actors add much of the show's charm while players of multiple roles like Nick Mendelson (who killed it in Hell in a Handbag's 'Poseidon! The Musical'), Alexander Rubin and Emily Lewis (to name a few) lend strong credibility to the ensemble's sturdiness.

The show's many catchy song and dance numbers (music by Charles Strouse and lyrics by Martin Charnin) are admirably performed by its ensemble and there is a lot to like in this production although I would have liked to have seen a bit more put-up-your-dukes-spunkiness out of Annie, more gruffness from Oliver Warbucks so that we can more effectively feel him gradually soften to Annie's warmth and good-heartedness, and a bit more tongue-in-cheek, over-the-top, cruel and erratic behavior out of Miss Hannigan (not sure if there is a reason she is not portrayed as an alcoholic as much as we are used to seeing her, outside of her opening appearance in the orphanage). I also didn't feel that a romance was blooming between Miss Farrell and Mr. Warbucks until near the show's end scene. Still, the leading characters are effective, each having their share of fine moments, while the entire cast pulls off a solid all around performance and delivers a nice fun-filled production providing one hit after another including “Tomorrow,” “I Don’t Need Anything But You” and “Easy Street,” a deliciously pleasing song and dance number that has Miss Hannigan, Rooster and his girlfriend Lily (Becca Duff) setting their scheme into place.

‘Annie’ is an entertaining production that reminds us of the things we should not take for granted and the little things in life to be thankful for – sometimes it takes a special kid to show us the way. Extended through January 5th, ‘Annie’ is being performed at Citadel Theatre in Lake Forest.

For tickets and/or more show information, visit www.citadeltheatre.org.

Please note that Kayla Norris plays the role of Annie on alternating nights.