Displaying items by tag: Drury Lane Theatre

I thoroughly enjoyed Drury Lane's enchanting stage production of Disney’s The Little Mermaid from start to finish. While few are overly familiar with Hans Christian Andersen’s original, darker tale of ill-fated romance, the Disney animated film and this stage adaptation, with a book by Doug Wright and music by Alan Menken, lyrics by Howard Ashman and Glenn Slater, beautifully transform the fairytale into a heartwarming story of love and triumph for the heroine, Princess Ariel.

The mermaid Ariel, portrayed with sunny enthusiasm and skillful vocal stylings by Sarah Kay, is a Princess and the beloved daughter of King Triton, convincingly played by Anand Nagraj. Ariel is captivated by the world above the waves, yearning to experience the sunshine and the joy of walking through green fields. Her fascination with the human world deepens when she falls in love from afar with a human prince.

During a fierce storm, Ariel saves the Prince from drowning, and in that moment, she finds herself falling for him. The Prince, portrayed with sensitivity and earnestness by Patrick Johnson, is captivated by the voice of his rescuer, though he never sees her face as Ariel swiftly returns to the sea, hiding her mermaid identity.

The chemistry between Kay and Johnson enriches their characters, making their blossoming romance both believable and heartfelt. Kay's Ariel exudes innocence and curiosity, while Johnson's Prince captures sincerity and a deep longing to find the mysterious singer who saved his life.

King Triton, wary of humans and deeming them dangerous, has commanded his daughters to stay away from them. This forces Ariel to make a desperate deal with Ursula—her powerful, estranged, octopus-like aunt, who was once banished by King Triton, her brother.

Anand Nagraj as King Titan and Michael Earvin Martin as Sebastian. 

Ursula, portrayed by Sawyer Smith, casts a spell on Ariel, compelling her to give up her extraordinarily beautiful voice in exchange for a chance at love. Ariel must win the heart of the Prince, who must love her so deeply that he is compelled to kiss her. Only True Love's kiss can break Ursula's twisted spell. If Ariel fails to find true love and receive the Prince's kiss, she will be banished to the underworld, and Ursula will claim her soul. Sawyer Smith, as Ursula, is a showstopper! Smith's costumes, makeup and movements are menacing, powerful, yet glamorous all at the same time. Smith’s talent is fully on display during a commanding rendition of “Poor Unfortunate Souls.”

The cast delivers uniformly strong performances throughout. Matt Edmonds also stands out with his impeccable comic timing as Chef Louis, eliciting plenty of hearty laughs with his hilarious solo number “Les Poissons.” 

I valued the emphasis placed on the power of a single woman’s voice and the profound impact of a young woman losing her voice, especially in today’s context. It was heartwarming to see so many young girls in the audience, their faces glowing with delight. They were captivated by the show's humor and romance, yet also deeply moved to tears by the poignant theme of Ariel sacrificing her voice to win the love of a man.

This production, under the skillful direction of Scott Weinstein, with choreography by Kasey Alfonso and a vibrant set designed by Tijana Bjelajac, excels in providing delightful musical theater entertainment for both children and adults. It is truly a pleasure to watch.

Patrick Johnson as Prince Eric and Sarah Kay as Ariel.

The puppetry in this production was extraordinary, among the finest I've seen on a Chicago stage. For instance, the two eels, Ursula’s sinister accomplices, glide gracefully through the audience and across the stage with glittering lights encased in sheer black chiffon, creating an absolutely magical effect. The puppet characters were all exceptionally well played and designed. Notable performances include Sebastian (Michael Earvin Martin), Scuttle (Landree Fleming), Flounder (Maya Lou Hlava), Jetsam (Ryan Michael Hamman) and Flotsam (Leah Morrow). The impressive puppet design was crafted by Chicago Puppet Studio, Caitlin McLeod, and Zachary Sun. 

The set design, featuring the imaginative light projections by Anthony Churchill and the atmospheric lighting by Ryan O’Gara, brilliantly conveyed the sensation of being under the ocean. Their work uniquely and creatively transported the audience to an enchanting underwater world, making the experience both magical and mesmerizing.

The Little Mermaid is a fantastic ensemble piece, and the entire cast brings the house down with their rousing, colorful, and energetic group number in “Under The Sea.” This performance beautifully captures the splendor of the mermaid's underwater home and castle, making it a mesmerizing highlight.

I highly recommend this colorful, ingenious, and lively production for audiences of all ages who wish to experience one of their favorite Disney fairytales come to life! 

Disney’s The Little Mermaid is being performed at Drury Lane Theatre in Oakbrook through January 12th. For tickets and/or more show information, visit https://drurylanetheatre.com/the-little-mermaid/.

It’s hard to believe that Fiddler on the Roof turns 60 this year. It’s even harder to believe that the show, which opened on Broadway in 1964, can still take an audience by surprise. In continuous production around the globe, and with brides continuously walking down the aisle to “Sunrise, Sunset,” Drury Lane Theatre’s new version proves Fiddler’s mettle once again.

Director Elizabeth Margolius and choreographer Rommy Sandhu dispense with some of the standard staging choices, mostly without disturbing the spirit that animates the musical. Evocative tableaux replace folky dances right from the opening number. After Tevye (Mark David Kaplan) ushers us into Anatevka, lights come up on the townspeople in rows that initially suggest a church choir or a Greek chorus.

“Tradition” proceeds in that linear formation, bringing the village to life in a cluster rather than filling the full stage. Then, as Tevye narrates the action, the cast begins to sway and bob, the movement not of Christians or Hellenes but of worshipping Jews. Each group – the papas, the mamas, the sons, the daughters – has its verse, standing upright and illuminated while the others crouch. Roles are specified, expectations declared. Whether expressing the closeness of the community, fear of what lays beyond the shtetl or just the cold Russian climate, these people function as a bickering, intertwined unit.

At least, it starts that way. Jack McGaw’s set puts the flat façade of a house center stage, a piece of scenery that disappears, panel by panel, as the story progresses. With every personal encounter, traditions break down and push everyone towards the empty space of the future. Tevye tells Golde, “it’s a new world.” How comfortable was the old world? Projections, designed by Mike Tutaj, appear on screens throughout the show, and an historic photograph of a shabby shack reminds us that a poor man like Tevye had little in the way of comfort.

There are no props – no dairy cart beside Tevye during “If I Were a Rich Man” or a book for his daughter Chava to exchange with her non-Jewish suitor Fyedka. Though odd at first, it works especially well during “Sabbath Prayer” when the family gathers to light the shabbas candles. Instead of candlesticks, the screens that frame the action fill with images of flames. In group scenes such as this, the use of projections is stirring. During more intimate moments, when the faces of the characters are projected onto the screens, they seem less of an enrichment and more of a distraction.

Several cast members bring new attention to smaller roles, such as Joel Gelman as Lazar Wolf, the widowed butcher who sets his sights on Tevye’s first born Tzeitel. Yes, Lazar Wolf is too old and unrefined for the girl. But Gelman exudes such heartfelt joy at the prospect of marrying her, he inspires sympathy when the deal falls through. In the hands of Janet Ulrich Brooks, Yente the Matchmaker lands the laugh lines that have turned “yente” into a synonym for meddlesome gossip. But Brooks also conveys the loneliness of a woman who has no one to call her own.

What do the inhabitants of Anatevka have to call their own by the end? Not much. Their bickering, intertwined unit scatters in all directions as the Russian authorities confiscate their property. We know these people after 60 years of imagining that fiddler trying to keep his balance on a shaky roof. At Drury Lane Theatre, we meet them once again as tableaux of memory that reach through time and space.  

Fiddler on the Roof is playing now through March 24^th at Drury Lane Theatre in Oakbrook. Tickets are available at www.drurylanetheatre.com

I thoroughly enjoyed this colorful, sumptuous, and romantic production of Rogers + Hammerstein’s Cinderella at The Drury Lane Theatre from beginning to end.

Directed and choreographed with lively and complex numbers by Amber Mak, with musical direction by Carolyn Brady, I felt that the spirit and female empowering themes of the original Cinderella were kept intact. Cinderella is the unlikely and supernatural story of a girl who is treated like a house servant once her stepmother takes charge after her well-to-do father passes away. No longer protected by her father, Cinderella is at the mercy of her resentful stepmother and her two stepsisters. But much to the chagrin of the stepmother, Cinderella’s inner beauty and strong character does not go unnoticed by the kingdom’s prince, who is seeking a bride.

Lissa deGuzman as Cinderella is a genuine delight as the sensitive and "unique" Cinderella. deGuzman has a beautiful voice and really captures the innocence and ingenuity that Cinderella is supposed to exude. The chemistry between her and Prince Topher, played by Jeffrey Kringer, was palpable and they have several romantic embraces and kisses that might have fallen flat if not for their genuine chemistry onstage. Jeffrey Kringer is a multifaceted Prince with a strong masculine yet sensitive presence as the handsome but confused Prince who is forced by his Viceroy to choose a Queen to marry. Viceroy Sebastian is played with good humor by Jeff Parker.

What I liked about this version of the classic tale is that it included the extended storyline wherein Cinderella is not just a victim of her greedy stepmother and a discovery of the Prince, she actually helps the entire village and the prince resolve a longstanding situation regarding the growing starvation and taxation of his subjects and the Royal families reluctance to address these issues fairly until Cinderella asserts herself and is able to open the prince’s eyes. The prince then deems the kingdom as a village of the people and uses their voice to make decisions regarding its management. 

Cinderella's stepsisters, Gabrielle (Christine Mayland Perkins) and Charlotte (Alanna Lovely) were at first ugly on the inside though some people can change as seen by Gabrielle’s lovely extended storyline where she and her secret boyfriend, Jean-Michel (Christopher Llewyn Ramirez) a villager who cries for fairness among the people, end up helping Cinderella to escape the grasp of the abusive gold digger, Madame/Stepmother, masterfully played by Gisela Adisa. Gabrielle, spoiled and bratty at first, turns out to be very sweet and her evolving character is played with glowing depth by Christine Mayland Perkins, who also lands several funny lines to perfection. 

I also have to acknowledge the superb performance by veteran actress McKinley Carter as the Fairy Godmother named Marie. It isn't until Carter's appearance as the wise and beautiful Fairy Godmother who leaves her beggar woman rags behind and sings the song "Impossible" that the young cast seemingly melts into cohesion and radiates collectively.  At the same time, we as an audience then get our first glimpse of the magical power of falling into true love thanks to Carter’s majestic voice and sparkling smile, conveyed as only a mature award-winning actress can pull off. 

I really enjoyed the flowing and heartfelt group dance numbers by the talented ensemble cast including Emily Ann Brooks, Leah Casey, Sophie Liu David, Margot Frank, Dani Johns, Kevin Kuska, Austin Nelson Jr., Justin Payton Nelson, Nolan Robinson, Elizabeth Romero, David Sajewich, Brian Selcik, Andew Tufano, Shelbi Voss, Amanda Walker.

My favorite songs next to "Impossible" include the adoring duets between Prince Topher and Cinderella "Do I Love You Because You’re Beautiful”, “Now Is the Time” and (I Held You) "10 Minutes Ago," which had a great sense of youthful, loving urgency and graceful romance. I only wish they had included the Disney film song "So this Is Love,” as it is recognizable to audiences of any age and to me represents the ultimate love song between the Prince and new Princess that marks their first dance together as a newly smitten couple falling in love for the very first time. 

Riw Rakkulcon’s scenic design is a tiny bit dark but very large in its scope and complex changes. It is luxurious and grand when it needs to be so you really feel that the castle is a castle. I also enjoyed the way the carriage and horse men portrayed the journey to the castle as even Cinderella needs a ride to attend the ball. 

I loved the costumes by multi–Jeff Award-Winning Theresa Ham for everyone in the cast except perhaps for Cinderella. The unique classic style and colorful well-fitting gowns and tuxedos etc. for the ensemble were very well done and varied. The only problem I had with Cinderella's costume changes was with the big reveal when the Fairy Godmother tells her it is not impossible for her to attend the ball and gifts her with a ticket and gown. The effect to do this this was impressive, Cinderella spinning her way from rags to ball dress, though the dress could have been more fairytale-esque. However, to Ham’s defense, in order to make this "magical" change onstage in full view of the audience, Cinderellas magnificent ball gown needed to be hidden under her day dress and as such lacked the largesse and sparkling, puffy wedding gown feeling that little girls have come to expect from that scene. 

With plenty of humor, impressive special effects, brilliant set and costume design and led by sensational performances from Gisela Adisa, Lissa deGuzman, Jeffrey Kringer, McKinley Carter, Alanna Lovely, Christine Maryland Perkins and Jeff Parker, I highly recommend this lush and well-acted and beautifully danced and sung production of Cinderella for audiences of all ages. Rogers + Hammerstein’s Cinderella at Drury Lane is a show that will lift your heart for the holidays and make you believe that finding true love and making it work is most definitely possible! 

Rogers + Hammerstein’s Cinderella is being performed at Drury Lane in Oakbrook through January 7^th. For tickets and/or more show information, please click here.

Fall into the blazing ring of fire that is Johnny Cash’s scorching song catalogue at Ring of Fire: The Music of Johnny Cash at Drury Lane Theatre. Part biography, part music revue, and all entertainment, Ring of Fire will take you on a nostalgic, country music-filled journey through the life, times, and songs of American treasure Johnny Cash.

The original 2006 Broadway production of Ring of Fire lasted only 47 performances, likely because it was riding the coattails of the popularity of the 2005 Johnny Cash biopic Walk the Line starring Joaquin Phoenix, and the Broadway musical treats the same story and songs more shallowly and lightly. Drury Lane Theatre brings back this production in a new context, in a new decade, maybe when we need and miss the country music icon more than ever.

Erik Hellman, Roy James Brown, Ron E Rains, Elleon Dobias, Michael Potter. Photo by Brett Beiner

The modest hour and 45 minute run time consists mostly of music, impressively played live by the six-person cast and band, which was one of the biggest highlights for me. Ron E. Rains portrays an older Cash, narrating the story and exchanging meaningful glances with the younger Johnny, played by Michael D. Potter, as he goes through life making music, headlines, and mistakes. 

Using Cash’s songs, small costume and set changes, and short bits of dialogue, the show takes you through Johnny Cash’s life, from his childhood growing up on a farm, to hitting it big in the country music scene, to his drug addiction, to meeting his soulmate June Carter. 

Aja Wiltshire, Michael Potter. Photo by Brett Beiner

The only complaint I could see one having about the show – and maybe why it didn’t last long on Broadway – is how briskly it skims over the rich life story of Johnny Cash. It feels more like a musical review than a traditional musical. It’s even reminiscent of a similar musical, Million Dollar Quartet, about a recording session at Sun Studios with Cash, Elvis, Carl Perkins, and Jerry Lee Lewis that had a home in Chicago for many years in the early 2000s. If you like the music, you’ll be happy. But if you want a more traditional musical with plot and character-driven songs, this may not be the show for you.

Johnny Cash fans will love hearing both hits and deeper cuts from the Cash catalogue, like “Big River”, “Straight As in Love”, “Cry Cry Cry”, “Hey Porter”, “I Still Miss Someone”, “Five Feet High”, “Daddy Sang Bass”, “Get Rhythm”, “Folsom Prison Blues”, and dozens more. Female voices also shine with Aja Wiltshire as a brassy and sassy June Carter and Elleon Dobias as Cash’s heartbroken first wife Viv.

Ring of Fire: The Music of Johnny Cash is playing at Drury Lane Theatre through October 22, 2023. Tickets can be purchased on their website.

Grease has always been, first and foremost, a stage show. And while the 1978 movie with John Travolta and the late Olivia Newton-John is what lives on in pop culture (as it should), Grease arguably works better on the stage, and this version should get more credit.

Drury Lane Theatre’s production directed by Paul Stancato captures the high school of it all—and the 1950s of it all—in a way the film doesn’t. While the film primarily focuses on the love story between Danny and Sandy, the stage show gives near equal time to all the guys and girls in the group, giving the audience a snapshot of an entire high school class with a range of personalities, quirks, and levels of delinquency.

The story is one we're familiar with: boy meets girl, boy gets girl, boy loses girl, boy fights to win her back. But in Grease, it's wrapped up in a 1950s bow, complete with greasers, bobby socks, and early rock 'n' roll melodies. And with the structure of the story and songs in the stage version, more of the ‘50s songs are featured as solos throughout, like Marty’s “Freddy My Love” she sings with the girls as backup at their sleepover, and “Those Magic Changes” sung by Doody and the other teens on the bleachers. In the movie, these songs are crammed into the dance scene with Sha-Na-Na singing them in the background. Onstage, they get to be full-fledged moments.

Cast of Grease at Drury Lane Theatre. Photo by Brett Beiner Photography.

Led by Jake DiMaggio Lopez as Danny and Emily Schultheis as Sandy, the Drury Lane cast brings energy and spectacular voices to the musical we know and love. Standouts of the cast for me, besides the two leads, were Alina Taber as a snarky but surprisingly vulnerable Rizzo, who finally breaks her cool girl veneer in her act two song “There Are Worse Things I Could Do”, and Billy Rude as Kenickie, who can be described in much the same way, playing the tough guy most of the time but the production giving him moments of more raw emotion.

The sets and costumes also shine, with 1950s high school hangouts like the diner, the bleachers, and teenage girls' bedrooms portrayed vibrantly through backdrops and set pieces. And the costumes felt realistic for the time period with, like the sets, a dash of bright cartoon-y-ness to match the energy of the score.

Billy Rude and Alina Taber in Grease. Photo by Brett Beiner Photography.

Stancato says in his director's note in the program that he wanted to bring together the grit and realness of the original Grease with the polish and flash of the movie. I think this production does just that. It acknowledges the audience's love for the movie while respecting the edginess of the original 1971 stage version (which, interestingly enough, premeried in Chicago—where Drury Lane's production is set).

If you like Grease the movie, this show is a must-see.

Grease is playing at Drury Lane Theatre in Oakbrook Terrace through June 4, 2023. Tickets available by phone at (630) 530-0111 or at drurylanetheatre.com.

Like most things in our lives, what once was old can be new again (looking at you wannabe fanny packs). But some things can stand the test of time and find a resurgence, not to be duplicated but merely rediscovered by a new generation. A Chorus Line, now playing at the Drury Theatre, is just the thing that proves that, without duplication or manipulation, the themes exuded throughout the musical and its numbers speak across generations and stand the test of time and political correctness.

In A Chorus Line, hundreds of hopefuls congregate at a cattle call for Broadway dancers. A sour director and his assistant whittle down the ranks until they're left with 16 dancers (“head up, headband!”). All tell their life stories -- some tragic, some comic -- and explain their love of dance. Tension mounts when Cassie, once both a big star and the director's lover but now desperate for a part, auditions. But Zach must choose only the best for his show.

So what is it about A Chorus Line that gives it such staying power?

Maybe it’s the relateability of putting yourself on the line; working for years and years for a single moment, a single audition. The opening sequence of the musical “I Hope I Get It,” performed by the ensemble cast, brings the audience into the electrifying, heartpounding, anxiety-inducing audition. Aren't we all auditioning for the chorus? From job interviews to dating, we are always putting our best foot forward hoping against all the odds someone chooses us. We can prepare for years, memorize the steps, not miss a single beat, and still not get the part. With each hopeful cast member singing “I really need this job. Please God, I need this job. I've got to get this job,” resonates throughout the audience, and hits hard no matter the decade.

Perhaps it's the theme of understanding where you have come from to accept where you are today, no matter your background. As Zach interviews the cast, we begin to learn about the backgrounds of each hopeful auditioner, as they recall hilarious experiences and share embarrassing details such as “I really couldn't – Sing! I could never really – Sing! What I couldn't do was– Sing!” While recounting where they were, we learn that everyone on that stage dreamed of something bigger than them and we see an homage to youth and overcoming those awkward and challening years with "Hello twelve, hello thirteen, hello love!” Nostaligia can be sweet and innocent or bitter and sad, but they are our formative years. The number really highlights the humor, awkwardness, and tribulations of youth and celebrates it as the necessary path toward becoming who we are today.

It could be the relatability of fighting imposter syndrome, believing that you aren’t good enough. Or when we’re slowly unmasking, realizing you were being encouraged andpushed towards a life and dream that you didn’t really want. When Cassie takes the stage and expresses her only love was not to be a star but to dance, and as she dances her heart out in “The Music and the Mirror” we feel every kick, every headsnap, every spirit finger of emotion. For a single moment we’re all Cassie, wanting to just do what we love without fear, or judgement, or interpretation. To just dance and be allowed the freedom and autonomy to do just that.

For me, it’s the simple honesty of knowing that you tried; regardless of the outcome and if you never truly make it, at least you put yourself out there, and tried. “What I Did for Love” is the perfect balance of bittersweet gratitude, not regretting what you did in pursuit of a dream. It’s this theme that is the most prominent throughout the musical from the opening audition to the closing, glittering kick line.

Drury Lane is quickly becoming my favorite theatre in the Chicagoland area. It continues to deliver incredible performances under the glittering chandeliers of their venue and their 2023 line up is sure to draw even more suburban theater goers to Oak Brook instead of Chicago. A Chorus Line runs through March 19th, get your tickets today at https://drurylanetheatre.com/a-chorus-line/.

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.

Drury Lane Theatre has put together perhaps the most visually stunning and vocally finessed production of ‘Mary Poppins’ one could possibly see.  An imaginative, ever-changing bright and colorful set with loads of special effects surrounds a most remarkable cast, highlighted by Emilie Lynn who wows theatre goers as Mary Poppins.     

Now, fifty-five years after the release of the classic Disney film starring Dick Van Dyke and Julie Andrews, comes this new heartwarming and spectacular production of ‘Disney and Cameron Mackintosh’s Mary Poppins’ directed and choreographed beautifully by Marcia Milgrom Dodge.

A family is in trouble, the children are spoiled and bored and as troublesome as can be. Their mother, Winifred Banks (Alexis J Roston), is neglected and feels unappreciated. Winifred’s husband George (Matt Crowle) is cold and overworked and pays little mind to his wife and two children. Completely consumed by his work, life at the bank has been stressful for Mr. Banks. They could use a little help. They need a nanny – a new nanny. They have had many before, but none have ever been effective.  

The children, George (Hunter Dimailig or Sebastian Merlo) and Jane (Grier Burke or Nicole Scimeca), write a list of the qualities they’d like in their new nanny. Nothing too outrageous, they ask that she be kind, care about them, give them candy and be rosy cheeked and pretty to look at. Mr. Banks does not take his children seriously and destroys their little help wanted ad. However, not long after, Mary Poppins appears quite magically at their door ready for work – with the handwritten ad. She is stern and no-nonsense but is kind and good-hearted. 

She quickly wins over the children – and audience - with the charming number “Practically Perfect (I Am Perfect in Every Way!)”. From there the story is one fantastic adventure and life lesson after another as Mary Poppins works to get the household in ship shape despite dealing with a cranky Mr. Banks, a frazzled housekeeper and clumsy, but loveable butler who just wants to help. 

We really see who Mary is when she and the children run across Bert (James T. Lane), a friendly artist who sells paintings in the park. He knows who Mary is and is aware of the magic she brings.

Mary Poppins has true supernatural abilities that she uses to convert the children. A game she plays called “walk in the park” shows them the wonder of simple things from being out in nature. The simple, yet joyfully enchanted “walk in the park” also introduces the children to the concepts of accepting others of lower social standing like the chimney sweeps, and the poor old lady who finds joy in feeding the birds from a park bench.

In time, maybe Mary can bring out the child in Mr. Banks once again.

Emilie Lynn is splendid as Mary Poppins. She has the poise and rosy-cheeked prettiness to carry the role in itself, but it is Lynn’s sensational voice that really gives Drury its perfect Mary Poppins. Charming and graceful, as well, Lynn epitomizes the characteristics one would expect to see as Mary Poppins. She even channels Julie Andrews with her vocal prowess. At the same time, Bert is well cast with James T. Lane a true delight to watch. Lane’s singing and dancing are impressive, but it’s his energy and sense of kindness felt throughout the theatre that really gives us our Bert. Together, Lynn and Lane are unstoppable. 

This delightful musical has so many star performances that cannot be overlooked. To name a few, Matt Crowle brilliantly captures the essence of Mr. Banks to precision while Alexis J Roston is the ideal counterpart to Crowle as Mrs. Banks, both delivering vocally and adding a nice comedic touch when asked upon. Joe Capstick gets to show off his ability to take on a humorous role as the Park Keeper as does Sawyer Smith as Robertson Ay, the house staffer.

But not only are we treated to an extremely talented leading cast and ensemble that amazes from one scene and song/dance number from beginning to end, the set itself is a spectacular sight and the special effects are many and will fascinate adults as much as they will children.Filled with many classic hits that include “A Spoonful of Sugar,” “Step in Time,” “Supercalifragilisticexpialidocious” and “Let’s Go Fly a Kite”, this production does not stop entertaining from the word “Go”.        

‘Disney and Cameron Mackintosh’s Mary Poppins’ is being performed at Drury Lane Theatre in Oakbrook through January 19th, 2020.

For tickets and/or more show information visit www.drurylanetheatre.com.

Drury Lane brings Alice Walker’ 1982 novel ‘The Color Purple’, which found major success as a film in 1985, to the stage in what is sure to be a memorable experience for theatre goers. After its opening night performance, many who had seen either the Broadway run or national touring version of the classic story, emphatically stated that Drury Lane’s production is the best they have ever seen. That’s saying something.

 
The story takes place in the early 1900’s and continues through about halfway through the century. Following the journey of Celie, an African American woman in the American South, we get a story of heartbreak, unspeakable atrocities and more importantly that of hope and perseverance. Still a child, Celie has two children by the age of fourteen – both by her father, Alphonso. Not long after her second child is born; her father tells Celie he is going to get rid of the child just like he did with the first. Celie’s only comfort is in spending time with her slightly older sister Nettie and the two vow to never leave each other’s side. 

But four years later, a local farmer, Albert “Mister” Johnson asks Alphonso to have Nettie’s hand in marriage. Alphonso refuses, but offers up Celie instead, who is constantly referred to as “ugly”. Mister doesn’t bite but finally accepts when Alphonso throws in a cow. Mister, who had helped Nettie pursue her dream of becoming a teacher, also takes Nettie in shortly after she pleaded to stay with him and her sister alleging Alphonso is mistreating her. Mister accommodates Nettie, but always having eyes for her, attacks her one day and when she fights back is sent away along with the promise the two sisters will never see each other again. Once again, Celie finds herself in what turns out to be abusive relationship with a much older man.

It seems hopeless for Celie until a racy lounge singer comes into their lives – Shug Avery.

From there the story takes on many directions and we wonder if Celie will ever see her sister again or be released from the clutches of Mister.

 
With an already powerful book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, the direction by Lili-Anne Brown and gifted cast assembled puts this production over the top. Eben K. Logan is stupendous as Celie in every way as we are hopelessly drawn into her character one moment and marveling at her vocal ability the next. Logan is a true find and leads this amazing cast that also features Sydney Charles who brightly shines as Shug Avery, Nicole Michelle Haskins whose moving portrayal of Sofia truly resonates and Melvin Abston who is nothing short of commanding as Mister. The cast rounds out with an incredibly skilled ensemble that features Drury veterans Adhana Reid and Lorenzo Rush Jr. along with Camille Robinson, Jos N. Banks and a host of other talents. Kyrie Courter is just wonderful as Nettie while Gilbert Domally’s Harpo couldn’t be better. 

Besides a powerful story that is sure to move its audience members, it contains one enjoyable musical number after another from its title song “The Color Purple” to touching numbers like “What About Love” and “Somebody Gonna Love you”.
Drury Lane’s ‘The Color Purple’ is engaging from beginning to end as it retells a classic story of strong will and courage.

Highly recommended.

‘The Color Purple’ is being performed at Drury Lane Theatre in Oakbrook through November 3rd. For tickets and/or more information, visit www.drurylanetheatre.com.  
 

As with any good mystery, suspense, intrigue and surprise are the key elements in making a successful story that keeps one on the edge of their seat and keeps you guessing. ‘And Then There Were None’ at Drury Lane in Oakbrook has it all. And even though I have seen this play before, I did not remember the ending and was thoroughly surprised and shocked to find out who “dunnit” and why!

Without giving anything away, this Agatha Christie story is about ten strangers who have been invited to an island vacation by a secretive host or hostess. After realizing that there is a murderer on the island and no escape until a boat comes, the characters all begin displaying their own foibles and ways of coping with what seems to be certain death with some welcoming it and others fighting to the death to stay alive. As the mystery progresses, clues unfold that keep amateur sleuths (audience members) involved as we try piece the puzzle together.  

The mature and very talented, ensemble cast includes Vera Clayton (Cher Alvarez), Justice Wargrave (Matt DeCaro), Mrs. Rogers (Jennifer Engstrom), Emily Brent (Marilyn Dodds Frank), Fred Narracott (Casey Hoekstra), William Blore (Paul-Jordan Jansen), Anthony Marston (Zachary Keller), Doctor Armstrong (David Kortemeier), Philip Lombard (Yousof Sultani), Thomas Rogers (Paul Tavianini), and General Mackenzie (Bruce Young). And all ten had a solid grip on their characters. I was particularly impressed with Emily Brent as Marilyn Dodds Frank. Brent really knows how to infuse every word and look with an element of intensity and humor as her character teeters on the brink of sanity.

The set design by Andrew Boyce was particularly lush in depicting a mansion set on a private island somewhere off the coast of Maine with a stunning view of the ocean. As one who truly enjoys a water view, I was engaged immediately. Directed with great timing by Jessica Fisch, this production had me guessing on the murderers' identity right up until the last scene. But though the thought of a murder mystery might be macabre to some, the play infuses enough humor to keep things light enough for everyone to appreciate. 

There is a very interesting subtext in this story by Christie wherein the murderer has real reasons to kill off each of the guests who are guilty of murder in various ways themselves. The murderer has justified in his or her mind that killing each of these "alleged" murderers is the right way to serve up justice, and to a point the audience begins to actually want to see some of the characters die. But by the end it is clear that when a human presumes to "play God" they must be ready to experience the kick back of instant karma! Recommended for a fun Summer night of mystery solving that is suspenseful but not too scary for the whole family to enjoy.

‘And Then There Were None’ is a delightful whodunnit that is attractive to all sorts of theatre goers. Playing at Drury Lane Theatre in Oakbrook, you can catch this fun mystery through September 1st For more show information visit www.drurylanetheatre.com.