Displaying items by tag: Paramount Theatre

David Sedaris, author of the previous bestsellers Calypso, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, and regular National Public Radio contributor will be appearing for one night only at Aurora’s Paramount Theatre on Saturday, April 12 at 8 p.m., following the release of his newest books, Happy Go Lucky and Pretty Ugly. 

This is a unique opportunity to see the best-selling humorist in an intimate setting. As always, Sedaris will be offering a selection of all-new readings and recollections, as well as a Q&A session and book signing. Books will be available for sale at the event, courtesy of Anderson’s Bookshop.

With sardonic wit and incisive social critiques, Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today.  

If you love David Sedaris’s cheerfully misanthropic stories, you might think you know what you’re getting into at his live readings. You’d be wrong. To see him read his own work on stage allows his autobiographical narrative to reveal a uniquely personal narrative that will keep you laughing throughout the evening. Don’t miss this event!

Tickets to An Evening with David Sedaris go on sale to the general public Friday, December 13 at 10 a.m.

Tickets are $57–$67 and are subject to taxes and fees. All seats are reserved.

Paramount Theatre is located at 23 E. Galena Blvd. in downtown Aurora. For tickets and information, visit DavidSedarisOnTour.com, ParamountAurora.com, call the Paramount box office, (630) 896-6666, or purchase in person at the Paramount box office, 10 a.m. to 6 p.m., Monday through Saturday, and until show time on show days.

Throughout our busy lives we often seek out the new. It is easy to see the allure. Beginnings offer a bit of magic, a clean slate, a chance to start anew. The opportunity brings with it a sense of hope and optimism that maybe this time we’ll be lucky, maybe this time things will change. But there is also just as much magic in endings as there are beginnings, sometimes moreso. The end of a bad relationship, the final day at a toxic job, the final chapter of a good book, the end of a chaotic and disappointing year, endings provide us a rare opportunity beginnings cannot, the opportunity to let it go. And what more fitting way to let it all go and end 2024 than with a bit of magic and a bit of nostalgia with Disney’s Frozen: The Broadway Musical, now playing at Paramount Theatre.

Nominated for a Tony Award for Best Musical, this sparkling Disney fairytale has been reimagined for the stage. The theatrical production of Frozen brings Disney’s beloved animated film to life and fills the stage with winter magic. Set in the magical kingdom of Arendelle, the story follows two royal sisters, Elsa and Anna, as they navigate love, loyalty, and magic. In her struggle to understand her identity, Elsa questions her talents, confusing them for character flaws but ultimately finds strength in her identity and gifts, looking both inward and to those she loves to let it go and be who she was born to be.

Emily Kristen Morris plays Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

The stage adaptation of the beloved movie brings Disney magic to the stage. The musical has breathtaking scenic designs that transport us to the kingdom of Arendelle, lighting and sound and stage designs that bring magic to life, and an incredible cast of performers to include, but not limited to, Young Anna played by Avelyn Choi, Hans played by Jake DiMaggio Lopez, and Anna played by Beth Stafford Laird. Audiences young and old will feel a sense of nostalgia as the musical is filled with popular songs like “Love Is an Open Door” and “Do You Want to Build a Snowman?” and older audiences will appreciate songs that showcase internal monologues to move the musical forward like “Hans of the Southern Isles” and “I Can’t Lose You,” and all audiences will love the fun musical numbers like “Hygge” and revel at the iconic earworms like “Let It Go.”

It was fitting that the first act of the 2 hour musical ends with “Let It Go.” The audience needed the breather to the climactic beauty of the number helmed by the breathtaking Elsa played by Emily Kristen Morris. The staying power of “Let It Go” lasted long after the curtain calls and final bows. The magic lingered, the message more profound, communicating wordlessly what Director Trent Stork wanted the audience to take away from the performance. “I hope our show gives you the courage to be as bold as Elsa,” says Stork. “I hope you find a renewed sense of bravery from Anna…I hope you remember that love means putting others above yourself.”

Beth Stafford Laird (left) plays Anna and Emily Kristen Morris is Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

As the year comes to an end, be bold, be courageous, and above all be kind to others and to yourself and let it all go. Good or bad, things inevitably come to an end, a close, a final curtain close. It is not weakness to let something go that no longer serves us or things that are beyond our power to control, it is kindness, and at the heart of it is love. Love yourself and love your neighbors to simply let it go. And if you need a little help to let it go, let Elsa and some incredible theatre magic help you do just that. Frozen: The Broadway Musical is now playing at Paramount Theatre (23 E. Galena Blvd. Aurora, IL) and runs through Jan 19, 2025, tickets are available at https://paramountaurora.com/.

It’s dark on the Neverland ship, and Molly, Prentis, Ted, and Boy are hiding in a corner – waiting for the coast to clear. As they huddle and watch, the four begin talking about dreams. All have experienced their fair share of hardships, but for the briefest moment, they look to a world of what could be.

Boy has been fairly quiet to this point – only following Molly with the promise of better food. However, at this discussion, he perks up, and whispers his dream aloud:

“The world will be so beautiful that no one will ever have to say sorry again.”

Many of us know the story of Peter Pan. The story of a boy who never wanted to grow up. All he wants is to fly around Neverland with the Lost Boys – fighting Pirates and finding adventure after adventure. The heart of the story is full of magic, and all the wonderful possibilities that come with a youthful energy and imagination.

Being a prequel to the famous tale (and based on the novel by Dave Barry and Ridley Pearson), Peter and the Starcatcher carries much of the same wonder. As Boy whispers his dream to the audience, you might find yourself reminded of that original story. Perhaps if you, like myself, grew up a fan of Peter Pan, you will even find yourself smiling and leaning in upon hearing the sweet innocence of the fantasy. Even in a moment where everything feels dark and uncertain, Boy, dares to dream – exploring a childlike wonder that so many eventually lose, but to which can be so fun to return.

Peter and the Starcatcher follows Boy (or later named Peter – played by Terry Bell), who is held captive on the Neverland ship with two fellow orphans - Prentis (Michaela Shaprio) and Ted (Brandon Acosta). When they meet Stardust Apprentice Molly (Shelbi Voss), their whole world is turned upside down. A quest for better food turns into an unexpected adventure when Pirates come on board – attempting to steal back a trunk full of precious stardust, which Molly and her father are sworn to protect. Drawn to Molly’s heroism, Boy takes it upon himself to protect this stardust at all costs – even if it means going toe to toe with Pirates and a terrifying ocean.

Directed by Nate Cohen, Paramount Theatre’s intimate production is intensely theatrical. Rick Elice’s play carries a storybook charm, with various forms of narration throughout and actors playing multiple roles depending on the needs of the moment. Sometimes actors step out of the action to narrate the next event, while other characters have moments of speaking in third person. Cohen and his team lean into the storybook feel – particularly in the collaboration between Scenic Designer Myra G Reavis and Props Designer Ivy Treccani.  The set is minimalistic, and primarily comprised of various objects one might find in a theater. Ladders, stools, sheets, and chairs are utilized in multiple ways to represent various locations – all moved by the actors themselves. The effect? The audience is witnessing the story unfold and reconfigure in front of them with each scene, creating the feel of being inside the storybook alongside the characters. We are invited to use our imagination alongside the performers to fill in the dots, and with the intimate feel of Paramount’s Copley Theatre space, you might find that this adds to the experience.

As many of us know, Peter Pan is full of magic, and Peter and the Starcatcher is much the same. Lighting Designer Jackie Fox utilizes gold fairy lights to create the illusion of stardust – creating stunning stage pictures throughout the production.

One such moment occurs towards the end of the first act. Boy asks Molly for proof of what stardust can do. If he is going to risk his life to save it, then he may as well know why. Begrudgingly, Molly takes out her stardust, and whispers the following:

“To have faith is to have wings.”

From there, the surrounding lights dim and the specks of gold brighten. Molly is lifted above by actors, and as we see her spread her arms, Boy looks up in pure awe. Voss and Bell play the moment wonderfully – particularly as Voss’ Molly enjoys the feel of proving Bell wrong when he doubts her abilities. Most impressive though, at least personally, is the way in which Cohen stages the magic. As we see Molly lifted above by her ensemble, we too are invited to use our imagination - to have faith.  From there, Cohen once again invites the audience to return to their own childhoods and enjoy the magic of storytelling and believing in the impossible.

Full of stunning performances and remarkable stage magic, Peter and the Starcatcher will leave you on the edge of your seat – eager for what’s next and wishing there was more beyond the final lights down.

Peter and the Starcatcher runs at Paramount Theatre’s Copley Theatre – 8 E Galena Blvd in Aurora  through September 1, 2024. See the Paramount Theatre Website for tickets and information.

HIGHLY RECOMMENDED

Growing up our radio dial was tuned to one channel, K-Earth 101. In Southern California that station was the oldies, the classics, belting out hits from the 1950s and 60s; Sam Cooke, Buddy Hall, Mel Carter, Peggy Lee, The Ronettes, and so many more artists’ melodies and lyrics that are permanently tattooed on my brain. That music knowledge didn’t particularly help during middle school dances where 13 years olds grinded to The Bad Touch by The Bloodhound Gang but it did provide a solid foundation for an eclectic music playlist I continue to grow and curate today. Thanks to modern music apps we can now not only know the song but who sang it, and more astonishingly who wrote the music and lyrics. It is fascinating to find your favorite artists often wrote and composed songs for other artists, or your favorite songs are written by the same composer or produced by the same producer. It’s another level to musical appreciation that gets to the very heart and soul of the music. Music afficiandos loving to discover the artists behind the music will simply love Beautiful: The Carole King Musical, now playing at The Paramount Theatre. 

Beautiful: The Carole King Musical tells the story of Carole King, played by Tiffany Topol, and her musical journey and career. Starting out in Brookly we meet a 16-year-old aspiring songwriter in Carolee and journey through her early career composing music at 1650 Broadway for music publisher Donnie Kirshner, played by Ian Paul Custer. When she meets her future husband and lyricist Gerry Goffin, played by C.J. Blaine Eldred, we follow their early marriage and burgeoning careers as they team up to write some of the most iconic and lasting melodies and lyrics from huge 1960s artists like The Drifters and The Shirelles. Carole King’s career was filled with playful rivalries, endearing classics and emotional heartbreak but through it all she managed to see the beauty around her and become an era defining musician and artist and go on to become one of the most successful singer, songwriter and musicians in popular music history. 

First premiering in 2013, this modern musical is unlike any that you have ever seen. Synopsis and summaries about the play and captured in reviews are, in my humble opinion, purposely vague. The beauty of this musical is that it doesn’t have any original numbers nor does it sing-tell the story. Instead the writer Douglas McGrath uses King’s life story along with the music she wrote to show us her life, not tell us. He cleverly teases the music out, not immediately revealing the song, but having King or Goffin's characters slowly unveil the song to us. More satisfying than an unboxing video, the moment the first lyrics are sung or the melody tinkled on the piano keys, there is a collective and satisfying flutter of your heart, a spark in your brain at the recollection of the familiar song. It is made only more incredible as mini concerts within the play are performed by an incredible ensemble cast; The Righteous Brothers, performed by Luke Nowakowski, Matt Thinnes, The Shirelles performed by Marta Bady, Lydia Burke, Ariana Burks, Shelbi Voss, The Drifters, performed by Averis I. Anderson, Corey Barrow, Jared David Michael Grant, Calvin Scott Roberts, the incredibly talented ensemble cast embody the musical legends and perform just as they would have in the 1960s, fully immersing you into the heart and soul of King’s craft and talent. There is also a deep appreciation and respect for Carole King and how much influence she truly had on an entire generation of music, not counting her residual influence throughout her career with other artists. The satisfying, gratifying, and inspiring aspects of King’s life and influence is slowly unveiled to you as the audience and at times you’ll hardly be able to stay seated you’ll want to sing and dance along with the cast. The story telling is superb. It’s a love letter not only to King’s contribution to music but her rivals as well, Cythnia Weil and Barry Mann, played by Rebecca Hurd and Christopher Kale Jones respectively, and the music they all wrote that defined an era. You’ve never seen anything quite like Beautiful: The Carole King Musical. 

Going into this show I did not research Carole King's life story nor her songbook collection. I wanted to go in blind, knowing of the singer-songwriter but not being able to name many of her songs from memory. I had many people tell me what the musical was about and provide a brief summary of what it was about. All of their words failed to truly capture the magic and beauty of this show. I’m afraid my review will also fail to articulate and capture the true essence of the story. This Musical is like a song I must share with you but like a good song you cannot appreciate it until you hear it for yourself, experience it for yourself. If you see one show this summer, take a drive and enjoy the charming city of Aurora. Paramount Theatre is a gorgeous hidden gem nestled within the walkable and charming downtown community. It’s a perfect date night opportunity complete with theatre and live concerts mixed in. Theatre lovers will love the storytelling of the musical and music lovers will rejoice at the familiar melodies, only needing to resist singing along with the timeless classics. One fine day you’re gonna want to check off this musical from your list, don’t miss your chance to do so in 2024.

 Beautiful: The Carole King Musical is now playing at The Paramount Theatre in Aurora, Illinois and runs through June 16^th. Tickets are available at www.paramountaurora.com.

If there's one play every American should see in their lifetimes, without a doubt it's Tennessee Williams' perennial classic A Streetcar Named Desire. It's the type of play that transcends theatre and stands alone as one of the best contributions to contemporary literature. Its complexities and social commentary make it worth revisiting. Whether Williams intended his 1947 Pulitzer Prize winner to be laden with symbolism and rich in themes, is a debate for English teachers. What's indisputable is that before 'Streetcar', few plays dared to push a mainstream Broadway audience quite so far.

Paramount Theatre presents a thrilling, and faithful production of A Streetcar Named Desire at the Copley Theatre. Co-directed by Jim Corti and Elizabeth Swanson, this production is absolutely worth a Metra ride to downtown Aurora. Who says all the great theater must be within the Chicago city limits?

You can't have a good 'Streetcar' without a good Blanche and Paramount certainly has that in actress Amanda Drinkall. Her performance as Blanche deviates from the cliched washed up Southern belle many associate with Streetcar and Cat on a Hot Tin Roof. It's not to say she's giving an understated performance either. Rather, Drinkall wisely interprets Blanche as foremost, an alcoholic, as well as someone in already in the throes of a nervous breakdown. Often Blanche is portrayed as being driven to madness, but here it seems she arrives in that condition. Drinkall has an uncanny way of shifting between Blanche's "illusion" and her mania with just a facial expression. Perhaps eeriest of all is that Drinkall is much younger than, say, Vivien Leigh, so her unraveling seems all the more tragic as these days mid-30s is hardly considered “old maid” territory. 

Alina Taber as Stella and Casey Hoekstra as Stanley round out the principal casting and both turn in exceptional performances. Particularly Alina Taber - who brings a three dimensionality to Stella that may not be as developed in the script. Instead of the demure younger sister, Taber plays Stella with a bit more passion, and at times combativeness with Blanche.

Amanda Drinkall as Blanche DuBois in A Streetcar Named Desire at Paramount Theatre’s Copely Theatre.

Adding to this production's high quality are the lighting effects by Henry Toohey. The ways Blanche is lit during her gory monologues leave a haunting impression. Costumes created by Alan Richards and Kaia Mortenson are sexy but true to 1940s fashion as is the set design in general. Stella and Blanche are both styled in a way that gives this production authenticity as well as glamor.

Tennessee Williams' actual script is much more provocative than the classic Elia Kazan film with Marlon Brando and Vivien Leigh. What's always somewhat disappointing about the film version is that it cuts short one of Blanche's most heartbreaking monologues. Drinkall sinks her teeth into that monologue in this production. This by-the-books Streetcar is visceral, sexy and shocking just as Williams' intended it to be.

This is a play meant to be discussed. With each time you see it, there are always new ways to examine character motives and ask yourself the central question to any play - did the characters get what they want? There's probably no real right or wrong answer, but you'll just have to see this production for yourself in order to make up your mind.

Through April 21 at Paramount Theatre. 8 E. Galena Blvd. Aurora, IL 630-896-6666

Just on the heels of a very successful run of The Sound of Music, the three-hour production of Stephen Sondheim's Tony Award winning Into the Woods at the lushly appointed art deco Paramount Theatre is here to delight another round of theatregoers. Simply stunning and jam-packed with talent and energy, Paramount gives us another production to rave about. Upon entering the theater, the enormous set by designer Jeffrey D. Kmiec, with romantic and powerful lighting by Jose Santiago, is a spectacle to behold with its beautiful stately trees and fairy tale castle towers which dazzles the eye and ignites the audience's senses.

Into the Woods is a slightly adult version of a mashup of Brothers Grimm fairy tales that is really a metaphor for venturing out into the world and in everyday life on new paths to find happiness and love. Mixed together in this epic and humorous adventure are characters and plot lines from Cinderella, Jack and the Beanstalk, Little Red Riding Hood and Rapunzel.   

Although this is clearly an ensemble piece with a large and exciting cast, the play is held together and given a continuous depth of meaning by its Narrator, played by outstanding character actor Larry Yando (he also doubles as Mysterious Man). I went to college with Yando at the Goodman/DePaul School of Drama back in 1987 and now all Chicago audiences know and love his work as Ebenezer Scrooge in Goodman Theatre’s long-running Christmas favorite, A Christmas Carol.

The production contains numerous catchy Sondheim musical numbers including its title track that opens the show along with "Our Little World", "Ever After", "No One Is Alone" and the very funny “Agony” wonderfully performed by Cinderella's Prince (Alex Syiek) and Rapunzel's Prince (Devin DeSantis) – in perhaps the one of the shows funniest scenes. Another standout for me includes outstanding vocal performances from Cinderella, played with great humor by Hannah Louise Fernandes who questions why she is "running from a Prince?” after her fairy Godmother used magic to help her attend the ball. Also, Little Red Riding Hood, played by the sardonic and ruby-lipped Lucy Panush, is adorable throughout. Panush is forever changed by her encounter with the lusty Wolf who sniffs her as if she is a tasty pastry and she recalls with misty wonder how being "swallowed by the wolf" let her fall into a deep dark place that she surprisingly found quite fascinating. 

Paramount Theatre’s Into the Woods features (from left) Stephen Schellhardt as the Baker, Will Koski as Jack, Natalie Weiss as the Witch, Hannah Louise Fernandes as Cinderella and Lucy Panush as Little Red Ridinghood. Photo by Liz Lauren.

The show is bursting with talented performances throughout and peppered with brilliant comedic and singing performances including that of Sarah Bockel as the Baker’s Wife, Will Koski as Jack and Natalie Weiss as The Witch. Its story is fun and has a twist around every corner while the extraordinary set and lighting/sound effects keep us smack dab in the middle of an enchanted world like no other.

The music throughout is impressive and big. I always love to walk down at the end of a show to see the orchestra in the pit, and this large gifted group of musicians led by Music Director/Conductor Kory Danielson are a character in their own right. And the music that comes from an orchestra of this size is something you can feel pulsing in your heart as the play takes the audience through all "the feels" from joy to loss, sensual longing to satisfaction and everything in between. 

Into the Woods has so many great characters and intertwining storylines, each with their own moral lesson, that there is something everyone can relate to at every age, whether it is the joys and disappointments that come with leaving home, reckoning with your parents’ goodness or mourning the loss of a loved one.

I highly recommend this outstanding and exciting, colorful and dramatic production for audiences between the ages of 12 to 91 (the age Sondheim passed away in 2021) who are seeking a rich, quality and satisfying night out at the theater. 

Into the Woods runs through March 19th at the Paramount Theatre, 23 E. Galena Ave., in Aurora. For tickets visit paramountaurora.com or call 630-896-6666.

From the moment the sisters along with Mother Abbess sang “Maria” in one of the show’s earliest numbers, I knew I was in for a special performance. Their voices soared through the theater with a magnificence beyond what I had hoped. And when Mother Abbess (so richly performed by Susan Moniz) sang the final line in the song, “How do you hold a moonbeam in your hand”, it nearly brought tears to my eyes – just the beauty in her voice and the compassion within her words.

Paramount Theatre is currently taking on one of the most timeless musicals ever created in stage history in Rogers and Hammerstein’s “The Sound of Music”. And though many excellent renderings of this musical have come through Chicago over the past several decades, I can only imagine that this production would join the others among the best produced, casted and performed. From its majestic sets that seamlessly change from scene to scene to its large catalog of masterpiece musical theater numbers, this production wows the audience one scene after another.

The Sound of Music is based on the 1949 memoir penned by Maria von Trapp The Story of the Trapp Family Singers. The story was first staged on November 16^th, 1959 at the Lunt-Fontanne Theatre before being released as a film in March of 1965 where it won just about every award imaginable, taking off internationally thanks in part to memorable performances by Julie Andrew and the late, great Christopher Plummer. Taking place in 1938 Salzburg, Austria, its story revolves around Maria, a wannabe nun that might not be quite ready for life in The Abbey. Wanting her explore life again on the outside before committing to sisterhood, the Mother Abbess sends free-spirited Maria to serve as a governess for the widowed Captain Georg von Trapp, a retired naval officer, where she would care for his seven children. Georg is strict and has distanced himself from his children since his wife’s passing. His children now answer to whistles and march as though they were in the military. Maria becomes intent on not only breaking through to the children (who are now on their seventh governess) but also connecting them once again with their father whom they once knew much more closely. While doing so, unexpected feelings emerge between Maria and Georg. At the same time, Nazi Germany is spreading throughout Europe, Austria being no exception. The beloved country was being annexed by Hitler’s dark empire. But Georg is a devout Austrian and refuses to serve under the Third Reich. So, then the story also becomes one of escape.

For a Sound of Music production to work well, Maria must be cast well. And in Paramount’s production, they have done just that. Alicia Kaori is extraordinary. She gives us a Maria who is playful, warm, understanding, loyal, devoted, brave and adventurous. She brims with confidence when needed yet occasionally wrestles with her doubts. Kaori’s vocals are also impressive - her range is remarkable.

The remainder of the cast is superb.  As mentioned prior, Susan Moziz excels as Mother Abbess though excellence is also found in Christopher Kale Jones’ portrayal of Captain Georg von Trapp. He does a great vocally but also in capturing the captain’s exacting behavior while showing his vulnerability and his need for love again. With a cast so large, the standouts are plentiful. Included in that group would be Julia Aragon as the eldest von Trapp sibling, Liesl – one of the show’s highlights being her and Rolf’s (Michael Harp) rendition of “Sixteen Going on Seventeen”. Stephen Schellhardt as Max Detweiler and Nellie Shuford as Baroness Elberfeld are both quality additions and take on their roles with much aplomb. The children are fun to watch as their talent should not be overlooked, as well as the production’s ensemble roles.

Every aspect seems to have been taken in consideration while creating this production. The sets, massive and detailed, take us inside the von Trapp home so much that we, the audience, almost feel we are invited guests during the party scene and concert goers during the Sazburg Music Festival. The costumes are rich and painstakingly precise, giving the production an element of authenticity at every turn.

If you are already familiar with the story and are looking forward to hearing to hearing such classics as “Do-Re-Mi”, “Edelweiss”, “So Long Farewell”, “Climb Ev’ry Mountain” or its exhilarating title track, “The Sound of Music”, you will not be disappointed. If you’ve never seen the film or staged production before, you will undoubtedly become a fan.

Adeptly directed and choreographed by Amber Mak, this incredible production of The Sound of Music is being performed at the Paramount Theatre through January 14^th. For tickets and/or more show information click here.

Highly Recommended!

As a reviewer I've attended many productions of Rock of Ages and Paramount Theatre’s current production with its talented cast, wide-ranging set and rockin’ hair band rates right up there with some of the best I've seen.

For me, it was especially exciting to return to the gorgeous and comfortable Paramount Theatre after the long pandemic-based hiatus. And just like with most productions at this classic theatre, I was not disappointed.

Rock of Ages, also made into a movie starring Tom Cruise, Russell Brand and Alec Baldwin (to name a few) is a tongue-in-cheek love story about two Hollywood hopefuls, Drew (Kieran McCabe) and Sherrie (Taylor DiTola), one a rock singer and one an actress, who hope to make it to the big time in the 1980's. Multiple story lines also surround its main love story as The Bourbon, a long-time staple in the rock scene, is in danger of being shut down to make way for a modern chain store. The Bourbon is a gritty rock club (and really looks the part) that is run by Dennis (Karl Hamilton) the stereotypical club owner who only lives to rock another day, along with his animated sidekick Lonnie (Shea Coffman), who also narrates the story – and is hilarious doing so. The blend of humor and music is weaved together flawlessly. 80’s rock hits are showcased throughout by the show’s talented cast takes us from one scene to the other. From Twisted Sister’s “We’re Not Gonna Take it” to Nightranger’s “Sister Christian” to Journey’s “Don’t Stop Believin’” to Warrant’s “Heaven” the timeless classics seem endless. Each number is uniquely arranged and tremendously choreographed on the show’s super colorful and brightly lit set.

Taylor Ditola as Sherrie has a great voice and displays a fine sense of humor in her role and Kieran McaCabe, as the lead rock singer Drew, really stands out with his remarkable vocal range and delightful stage presence. Both really look the part and have a nice chemistry together. Though excellent performances in this production were many, I’d like to specifically point out the absolutely outstanding dancing of Christopher John Kelly, who is also the understudy for Franz. I simply could not take my eyes off his amazing dancing whether he was soloing or in the ensemble.  

The entire cast does a great job and occasionally a character bursts out with a voice that startles with its power and intensity as Melody Betts, for one, succeeds to do as Justice/ Mother.

Even if you've seen Rock of Ages before you will absolutely be blown away by the huge amount of ability and energy in every member of this seasoned cast and the spectacular presentation created by director/co-choreographer, Amber Mak, co-choreographer, Annie Jo Fischer and the entire production team. In the opening night performance, the audience was filled with people of all ages, and many hard-core fans of the show gleefully held up the flameless lighters and sang along with their favorite hits, screaming with laughter, as this is first and foremost a musical comedy. 

I highly recommend this production to everyone who has been eagerly waiting to return to seeing live theater as this tragic pandemic wore on. Rock of Ages at Paramount Theatre has all the raucous humor, big stage numbers, eye catching costumes and joyous energy that only live theater done right can provide. This Jeff Recommended production runs through May 29^th. For tickets and/or more information visit https://paramountaurora.com/events/rock-of-ages/.

On a final note, as one who appreciates having dinner before a show, I was very thankful to be invited to discover the offerings at Stolp Island Social Kitchen and Steakhouse. The experience was as impressive as it was convenient and cozy thanks to its tasty seasonal cuisine, super friendly service, and proximity to the theater - right next door to the Paramount. It was such a pleasure to be able to park once, and then enjoy a perfectly timed and delicious pre-show dinner in this lively atmosphere with lots of comfortable booth seating. Just like the Poison song says, “It don’t get better than this.” 

The 1993 Bill Murray movie comedy, Groundhog Day,is one of those cult classics with millions of fans. Like ‘The Big Lebowski,' people love it, or don’t quite see the appeal. I fall in the latter class on both films: appreciating the concept, but not with a lot of fervor.

So I was hopeful that the 2017 Broadway musical version would help me get into the story. Indeed, ‘GroundHog Day: The Musical,’ is a tremendous musical production. The story tells of cynical, self-centered TV weatherman Phil Connors who balks at being relentlessly assigned to cover the furry forecaster at the annual Groundhog Day in Punxsutawney, PA. You know, if the groundhog sees his shadow, winter lingers; if not, we get an early spring.

Alex Syiek is exceptionally good as the arrogant weatherman Phil Connors, channeling the flavor of Bill Murray’s version but making it his own. And Phoebe González as Rita Hanson, Phil’s new producer and love interest, is terrific.

The full production team has done a wonderful job, with very creative staging: Jim Corti, director; Megan E. Farley, choreographer; Kory Danielson, music supervisor, music director and conductor; Courtney O’Neill, scenic designer; Jordan Ross, costume designer; Greg Hofmann, lighting designer; Adam Rosenthal, sound designer.

In its Midwest premier at the beautifully restored Paramount Theatre in Aurora, IL through March 13, 'Groundhog Day: The Musical' a remount of the Broadway version that garnered seven Tony nominations. One suspects there is a reason it didn't win any. Frankly, the underlying material is pretty bad, in particular, the music. That would be the underlying material.

As in the film, Connors gets stuck in a time loop, awakened by his alarm each day at 6:00 a.m. to cover Groundhog Day. The musical version explores Connor’s desperation to escape the loop, and how he uses his time - for instance, hitting on every woman in town, and taking piano lessons - always “for the first time.”

But the repetitive nature of the morning 6:00 a.m. alarm seems to be incorporated into the music, yielding what basically sounds like endless variations on a single song for an overly long first act. The soporific effect was counteracted in a shorter second act with two distinct songs, one even memorable. And a Two Brothers coffee available at intermission helped.

It would have been hard to predict when this show was originally planned that Omicron Covid would still bedevil us. And in a sense, we are consigned to our own relentless treadmill of masks and constraints. Perhaps 'Groundhog Day The Musical' was chosen only for its coincidence with the real annual Groundhog Day each February. Infusing our masked treadmill wouood have given it more relevancy.

But I wouldn't write off seeing this show, which is a beautiful production, pretty much perfectly executed. But get yourself a Two Brothers in the lobby when you arrive.

‘Cinderella’ is a sumptuous visual feast, and a musical delight. Running through January 9, 2022 at Aurora’s beautifully restored Paramount theater, this timeless classic tale has been given a Broadway caliber treatment under the direction of Brenda Didier.

With gorgeous costumes (Theresa Ham) and wonderful original choreography (Tiffany Krause), the show is accompanied by the finely-tuned 14-piece live Paramount Orchestra, delivering magnificent sound under the baton of Kory Danielson.

Most striking is the performance by Mikayla Renfro as Cinderella. Renfro is a truly outstanding vocalist whose opening duet with Prince Christopher (Markcus Blair), “The Sweetest Sounds,” begins unassumingly, then clobbers you with its powerful harmony and inventive counterpoint tempo. No wonder: it was crafted by the masters of American musical theater, Rodgers & Hammerstein, who created the original musical in 1957 for CBS television.

Renfro has star power, with beautiful, expressive delivery across her whole vocal range. I could listen to her forever. Blair is a great tenor, though he didn’t seem to have the volume at the higher ends. In the second act, though, Blair comes on stronger, demonstrating vocal strength across his range.

Rodgers & Hammerstein's version of the tale of the downtrodden orphan—dressed by her fairy godmother, she came late to the ball, enthralled a prince, and left a glass slipper as her calling card—was derived from Cendrillon by French author Charles Perrault. It was the first time a musical was written expressly for relevision, and featured a young new star, Julie Andrews.

While timeless, that 1957 ‘Cinderella’ would look stale today, so this Paramount production follows a hipper, updated movie script produced in 1997 (with Brandy as Cinderella and Whitney Houston as the Fairy Godmother). It's fesher and funnier. 

Standout performances include the statuesque Jerica Exum as the Fairy Godmother, who exudes powerful magnetism whenever on stage; Sarah Bockel as the cruel Stepmother, bringing a Bette Midler-esque flair; and Lorenzo Rush, Jr. is excellent as the world-weary royal adjutant, Lionel, who manages the slipper fitting tests on all the women in the village.

You might ask how the magical transformation of a pumpkin into a coach and mice into horses is handled. In this production of ‘Cinderella’ a mix of puppetry and stagecraft does the trick. Puppets play the roles of mice, cat and birds who comfort Cinderella in her misery, and provide entertaining accents at the Paramount production. When at the critical moment Cinderlella gets her gown, and an elegant coach and liverymen appear, you will be delighted. It earned well deserved applause the night I saw the show. 

The Paramount Theater is a beautifully updated entertainment palace from the 1920s, with new seating and state-of-the-art sound system and electronics. Music from the orchestra, sequestered under the stage, is captured, mixed and balanced, then delivered by a finely tuned amplifcation system giving a sound that is superior than a purely acoustical orchestra could offer in this setting. The 'Cinderella' sound and music team includes Sound Designer-Adam Rosenthal, Orchestral Reductions-Macy Schmidt, Audio, Lighting, Media Supervisor-Alex Buholzer, and Electronic Music Designer-Ethan Deppe.

We hope to return to the Paramount for its upcoming big production shows, 'Groundhog Day' and 'Rock of Ages,' as well as the smaller production series that opens in Mach 2022 with four productions, including 'Hand to God' and 'Fun Home' at the Copley Theater across the street. Both theaters are part of a revitalized riverfront entertainment and dining district in Aurora, the second largest city in Illinois. Learn more at https://www.ParamountAurora.com, or call  (630) 896-6666.