Sometimes when something goes bad, it goes really bad. And that can be a good thing. In fact, that is truly the case in ‘The Play that Goes Wrong’ now playing at Oriental Theatre. Revolving around a disastrous opening night of Drama Society’s largest production to date, ‘The Murder at Haversham Manor’, a handful of actors are at the mercy of one mishap after another. From faulty props to mispronounced words to incorrect sound cues to cheesy stage effects, this Monty Python-esque play is one madcap adventure even before it begins to its final calamity.

“We apologize for the box office mix up and hope that the one-thousand-seven-hundred of you enjoy this show as much as you would have enjoyed ‘Hamilton’,” says cast member Chris Bean to the audience just prior to the beginning of the show.

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, ‘The Play that Goes Wrong’ is a comedy about theatre – or to put it more accurately, the things that can go wrong during a production. And this one has a lot of wrong.

Once the murder mystery begins the poor cast is subject to a series of hilarious misfortunes – even as the opening curtain is raised to soon and we see the cast scurrying to find their positions - though in an attempt to be consummate professionals, the actors try their best not to break character – and that is not so easily done as we find out.

Charles Haversham is dead (kind of) and it’s up to Inspector Carter to solve the crime. Taking place in living room of a mansion, everyone is a suspect – Perkins the butler, Thomas Colleymoore, Charles’ fiancé Sandra Colleymoore and Cecil Haversham, Sandra’s lover on the side. But getting through the mystery is no easy task when props are misplaced or falling of the walls of the set, lines are exchanged in reverse order and the show’s starring actress gets knocked out only to be replaced by a shell-shocked stage manager – and that not the half of it. Laughs come rapid fire like bullets from a Tommy Gun, as the actors are put in one compromising position after another each funnier than the last. And though most of the actors try their damnedest to be as professional as possible, Max Bennet who play Cecil, seems to be getting quite the kick out of each mishap and uses those many moments to thrust himself into the spotlight.

Perhaps a bit confusing since we’re talking actors playing actors, but Evan Alexander Smith, who recently wowed audiences in Drury Lane’s ‘Joseph and the Amazing Technicolor Dreamcoat’, stars as Chris Bean – who stars as Inspector Carter. Smith rolls with his chance to show off his comedic acting chops and puts forth a stellar performance in the Inspector Clouseau-like part. The play is filled to the brim with standout performances as Peyton Crim as Robert Grove who plays Thomas Colleymoore is sensational as the actor’s actor who refuses to fall victim to one calamity after another. Colorful characters fill this story, thanks to a very strong ensemble comprised of such talents as Ned Noyes (Max Bennett who plays Cecil Haversham), Jamie Ann Romero (Sandra Wilkinson who plays Florence Colleymoore), Yaegel T. Welch (Johnathan Harris who plays our victim Charles Haversham), Angela Grovey as our stage manager, Brandon J. Ellis the head-in-the-clouds lighting and sound operator and last, but certainly not least Scott Cote who is incredibly funny as Dennis Tyde who plays Perkins the butler.

In all, this comedic masterpiece of a staged whodunnit that goes terribly wrong delivers big laughs and plenty of them. This is perhaps the funniest play to hit the Chicago stage since Steppenwolf’s farce comedy “The Doppleganger” had us laughing all Spring.

Wonderfully directed by Matt DiCarlo with original Broadway direction by Mark Bell, ‘The Play that Goes Wrong’ is only here for a two-week limited engagement at the Oriental Theatre through Sunday, December 16th. For more information, visit www.BroadwayGoesWrong.com.

When we think holidays in Chicago, we think ‘A Christmas Carol’ at Goodman, Joffrey’s ‘Nutcracker’, Christkindlmarket, Zoo Lights at Lincoln Park Zoo, Winter Wonderfest at Navy Pier and the list goes on and on. We should count our lucky stars, Chicago has a lot to offer this time of year. But perhaps one of the most fun holiday traditions (one I certainly look forward to each year) is Hell in a Handbag’s annual Christmas musicals and this year is no exception. Parody master David Cerda and company, who have brought us such hits in the past as ‘Rudolph the Red-Hosed Reindeer’ and ‘Christmas Dearest’, keep the tradition rolling this year with ‘Snowgirls’. You guessed it – a lampoon on the 90’s cult classic Showgirls.

It’s a tough, dog-eat-dog world out there for reindeer who want to make it to the top of the exotic dancing game. Making a name for yourself in local strip dives is one thing, but Snowmi Malone has her sights set much higher. She’s looking to make it in crowned jewel of the exotic revue world – the North Pole. But to do that, not only does opportunity need to present itself, she needs to be the best she can be. Ice Crystal Connors, the star dancer and Queen of the Scene might have something to say about that.

In “Snowgirls’ we are taken on a journey through the sleazy underworld of the North Pole in a hilarious adventure that rings the holidays in Handbag style.

Directed and Choreographed by Jon Martinez, with book by Derek Van Barham and Music by David Cerda, the world premiere holiday production of “Snowgirls the Musical’ comes with its Handbag stamp and certainly holds its own to other past holiday productions by this talented theatre company. As outrageous, envelope-pushing and downright funny as one would hope for, Hell in a Handbag has yet another hit show on their hands thanks to its witty and devilishly comical script and the company’s skilled ability for casting just the right people in just the right parts.

Harper Leander is adorable in the role of Snowmi where she not only gets the chance to display her well-timed physical humor and droll line delivery, she even gets to bust a few moves as the bratty stripper who will make it at any cost. Handbag favorite Sydney Genco as Ice Crystal Connors is terrifically cast as the top drawing attraction of the North Pole’s exotic dance scene. Conniving and ruthless when need be, Grenco gives us a brilliant Gina Gershon parody that is simply hysterical. So many reindeer so many performances that should be recognized. Patrick Stengle as a grown up and kinda hardcore Herbie (the dentist wannabe in ‘Rudolph’) delivers many laugh out moments as does Max McKune as shady club manager Rudolph (he apparently didn’t grow up as innocent as we thought he would) and Terry McCarthy, who has been with Hell and a Handbag since its inception, as club owner and tough guy, Tony.

Other familiar faces make this production the success that it is with their own stand out performances including Grant Dagger (Zip), Brittani Yawn (Jolly) and Erin Daly as Mrs. Claus.

‘Snowgirls’ is holiday fun and can be enjoyed whether you’ve seen Showgirls or not (but it does help to have seen it beforehand). Go see what everyone is buzzing about and see why Hell in a Handbag just might be the funniest theatre company in Chicago.

‘Snowgirls the Musical: The Other Side of the North Pole’ is being performed at Mary’s Attic through December 30th. For tickets and/or more show information visit www.handbagproductions.org.

It’s the big day. The most celebrated parade in the country, Macy’s Thanksgiving Parade, is about to set sail down 34th Street, of course passing Macy’s flagship store along the way. When a man who just happens to be named Kris Kringle (Neil Friedman) notices that the hired Santa for Macy’s is intoxicated he brings the matter to the attention of event director Doris Walker (Courtney Jones). But Santa is the grand finale of the parade! What to do? Thanks to a bit of quick thinking, and the fact that the complainant bears a striking resemblance to Santa Claus, Doris convinces Mr. Kringle to handle the role for the day who does so well he is later persuaded to take on the seasonal position as the store’s holiday attraction. Kringle’s a bit quirky. He actually believes he’s Santa Claus. But since he does so well with the hoards of children that come see him each day, the store is willing to overlook the fact that he might have a screw loose. After all, he’s harmless and her really has a way with children. He even speaks Dutch to a girl who does not speak English. Sensational.

Sound familiar? It should. It’s the story of Miracle on 34th Street and Theater at the Center has brought the 1947 film classic to life for the holiday season. An Academy Award winning film and a hit on Broadway since 1963, Theater at the Center brilliantly tackles the classic story with well-rounded cast that boasts an immense amount of talent.

The story revolves around the question – is Santa Claus real. Doris Walker’s daughter Susan (Stella Rose Hoyt) sure seems to thinks so, despite the fact that her mother has raised her not to partake in such silly beliefs. Doris’ friend and soon to be love interest, Fred (Christopher Kale Jones), is no help. He helps perpetuate Susan’s belief in Santa asking in so many words, “Why couldn’t he be real?”

When a disgruntled Macy’s in-house Doctor of Psychology deems Mr. Kringle insane and asks for him to be institutionalized, people rally for the self-proclaimed Santa and the matter is taken to court. The case is extremely publicized. Is Kris Kringle Santa Claus or just a delusional elderly man? Fred, himself, volunteers to represent Santa as his legal counsel in what becomes a well-paced, climactic ending.

Neil Friedman is perfectly cast as Kris Kringle. He brings a warm charm and playfulness to the role to give us a convincing character that we can’t help but root for from his very first scene. Courtney Jones gives us a strong Doris who is believable as the no-nonsense, protective mother that is withholding of a heart that so desperately wants to believe in holiday magic. And while Stella Rose Hoyt does a superb job as Susan and Christopher Kale Jones delivers a bit more of an aggressive and cocky Fred than movie buffs might be used to, we also get an ensemble that holds up to the best of 'em. But when it comes to the show’s most humorous scenes, it’s Dan Klarer’s outstanding portrayal of store manager, Marvin Shellhammer, that really delivers the laugh out loud moments.

Written by George Seaton and based on a story by Valentine Davies, the 1947 film starring Maureen O’Hara, John Payne, Edmund Gwenn and Natalie Wood has become a Christmas season tradition and the memorable music and lyrics by Meredith Wilson have given us the stage as yet another outlet to take in this charming and heartfelt holiday tale. Songs like “It’s Beginning to Look a Lot Like Christmas”, “Here’s Love” (the original name of the stage production), “The Man Over there is Santa Claus” and “Love Come Take Me” are as memorable as they are enjoyable to watch as they are performed.

The perfect extra touch for the Christmas season, Miracle on 34th Street the Musical is sure to inject holiday spirit into the hearts of your family and friends.

Miracle on 34th Street the Musical is playing at Theater at the Center in nearby Munster, Indiana through December 23rd. For tickets and/or more show information, visit www.TheaterAtTheCenter.com.

Marriott Theatre brings yet another high-energy, song and dance production to its audience, this time mounting the regional premiere of ‘Holiday Inn’, a sentimental musical based on the 1942 film of the same name featuring the music of Irving Berlin and starring such great as Fred Astaire, Bing Crosby and Marjorie Reynolds. Directed and choreographed by Tony Award nominee Denis Jones and musically directed by Jeff Award winning Ryan T. Nelson, ‘Holiday Inn’ might just be one of Marriott’s greatest triumphs over the past few years.

“I am completely elated to revisit my work from the Broadway production of ‘Holiday Inn’ at the Marriott Theatre,” says Jones. It’s an honor to celebrate some of the greatest works of Irving Berlin and join forces with some of the most talented actors in theatre. With mesmerizing costumes and equally enthralling performances, audiences will leave with a few holiday surprises and a whole lot of holiday spirit.”

And though classics such as “White Christmas”, “Easter Parade”, “Blue Skies”, “Heat Wave”, “Be Careful, It’s my Heart” and “Shaking the Blues Away” are performed to perfection, it is the dance numbers in this production that truly steal the audience’s breath.

Jim Hardy (Michael Mahler) and Ted Hanvover (Will Burton) are best friends. The two entertainers have found a tremendous amount of success in New York as a song and dance trio that also stars Lila Dixon (Kimberly Immanuel). Lila and Jim are also quite the item and Jim wants nothing more to marry her. But the New York scene has run its course with Jim, so he also wants to hang up his tap shoes and take to the country. He proposes to his Lila, who accepts, and then shows her the deed to a farmhouse in Connecticut that he has just purchased in the hopes she would also want to give up show biz for a quiet life in the country. So, maybe he should have discussed such a major decision with Lila prior to making such a large purchase. When the three are offered a six-month touring engagement, Lila breaks Jim’s heart and hits the road with Ted. So it’s off to the country, alone, for Jim.

Dejected, Jim soon arrives at his newly purchased farmhouse ranch only to find Louise (Marya Grandy), a self-proclaimed “fixit man”, kind of comes with the house. In exchange for room and board, Louise will tend to the farmhouse but her title of “fixit man” extends much beyond the home itself. It isn’t long before the daughter of the previous owners, Linda Mason (Johanna McKenzie Miller), stops by to pick up some of the things that were left behind when the farmhouse was foreclosed upon. It isn’t long before a friendship develops and perhaps a spark ignites between them. It also isn’t long before Jim realizes farming might not be for him and longs for the stage again. And, as it turns out, Linda just so happens to have some performing experience of her own. But why go back to New York when you can bring New York to you? Just after Jim gets a surprise visit from a large group of performing friends, he comes up with the idea of turning the farmhouse into an entertainment getaway. After all, he’s got the floor space and plenty of rooms for guests. When his performer friends cannot commit to regular shows because of their own hectic schedules, it is decided shows will only be staged over the holidays – thus, ‘Holiday Inn’.

As chemistry builds between Jim and Linda, a drunken Ted reappears during opening night who briefly dances with Linda and soon has his sights on her as his new dance partner since Lila has left him for a Texas millionaire. Jim quickly finds himself in a similar situation, so we can only hope things will turn out differently for the all-around nice guy who may have found love once again.

‘Holiday Inn’ is filled with big, spirited dance numbers that are pure visual delights and the highlights are many. Will Burton’s recreation of Astaire’s “Let’s Say it with Firecrackers” is certainly one of them as he brilliantly taps his way around the stage with a bang – several bangs in fact. Johanna McKenzie Miller also leaves a strong impression, beautifully showcasing her amazing voice in such songs as “Nothing More to Say” and “White Christmas”. And throughout the talented dancing and singing offered in this production, Marya Grandy balances out the show with her incredibly funny performance as Louise, adding plenty of laugh out loud moments. A world-class ensemble that includes the familiar faces of Joe Capstick, Adam LaSalle, Laura Savage and Alejandro Fonseca pushes this musical into overdrive, while Lorenzo Rush Jr. as agent Danny Reed is a pleasure to watch in every scene he graces and child actor Patrick Scott McDermott also adds several moments of well-delivered humor.

Marriott Theatre presents a gem of a holiday treat that can be enjoyed by everyone. ‘Holiday Inn’ runs through January 6th and is highly recommended. For tickets and/or more show information visit www.MarriottTheatre.com.

Just in time for Halloween comes Hell in a Handbag’s The Golden Girls: Bea Afraid! The play’s name itself probably tips most off that audiences will be in for one helluva ride. Handbag found much success in the past couple of years creating their own hysterical episodes of The Golden Girls, Vol 1 was extended twice and moved to a larger theater while Vol 2 also made waves. So, a Halloween special featuring our four favorite seniors – why not?

Artistic Director David Cerda and company are working double time right now performing in Artificial Jungle at 7:30 p.m. (through October 28th) followed by Bea Afraid! at 10:30 p.m. To say this theatre company works hard is an understatement. And one thing is for sure – there’s a whole lot of funny in each production.

Bea Afraid! gives us two Halloweeny episodes, the first a clever whodunit that gets sillier by the second (that’s a good thing) followed by a demon possession that you will never forget. As laughter-filled as the second episode was, my friend walked away saying, “That actually kind of scared me.” So, laughs and scares – the best of both worlds – the treat followed by the trick. Between scenes Golden Girls trivia is held and tongue-and-cheek prizes are handed over to the lucky winners, such as the lady who sat in front of me that was handed a tube of anti-itch crème. How well do you know the gals?

Cerda returns as Dorothy displaying the same dominance over the role that helped make Vol 1 such a smash hit while Ed Jones reprises his role as Rose and commands a laugh just about every time a line is delivered. Adrian Hadlock also rejoins the cast and again nails the role of Dorothy’s razor-sharp witted mother, Sophia. Grant Drager is ever so saucy as our beloved, loose-legged, Blanche, a role that AJ Wright played so well in the first of the hilarious franchise. The cast is rounded out by such brilliantly humorous talents as Chazie Bly, Michael S. Miller, Michael Rashad, Duane W. Taylor, Robert Williams and Maureen SanDiego, who stars as the evening’s hostess.

Created by David Cerda and directed by Becca Holloway, this is a Halloween show not to be missed. Handbag gets another feather in their cap for yet another hysterical production, leaving us to eagerly await the next Golden Girls adventures - please say there will be more!

The Golden Girls: Bea Afraid! Is being performed at Stage 773 through November 2nd. For tickets and/or more show information visit www.handbagproductions.org.

The excitement begins as you walk up to the Mayslake Peabody Estate. It screams Poe, despite the fact that it was built around 1920, some 70 years after the great American writer’s death. Upon entering we are given a dance card. Two colors are distributed – blue and yellow. The card one receives determines the path they will take in experiencing an intimate peek inside the head of Edgar Allan Poe. Though the two paths start off in different directions, ultimately the audience is told the same story, though through a changed order of events. Essentially, two plays take place at one time.

First Folio’s “The Madness of Edgar Allan Poe: A Love Story” was a favorite of mine when I came across it in 2015. I felt it was one of the best, if not the best, play I had seen that year. This year, as we begin to wrap up 2018, I feel the exact same way. Christian Gray, who reprises the role of Poe, is an extraordinary actor and is allowed to cut loose in this play to give us the performance of a lifetime. The intensity and passion Gray gives to the role is authentic and would be tough to match by any other actor. Almost seemingly born for this role, Gray is a pleasure to behold in each and every scene, the audience getting their first taste of his command in the play’s opening act that revolves around Poe’s “The Bells”, just prior to splitting up on different paths. "Bells! Bells! Bells! Bells! Bells!"

The play moves from room to room throughout the Tudor Revival styled mansion as scenes break out in several rooms, the staircase and hallways. The interior of the mansion perfectly provides such a sincere set it would be easy to imagine we are lost in time with Poe and the characters he created. Each location holds setting for a different story, though the overall theme clearly revolves around the love between Poe and his much younger wife (and cousin), Virginia. After all, this is a love story and a remarkable one at that as we see - and feel - Edgar and Virginia's undying love for each other throughout the play.

Executive Director David Rice’s masterful piece is nothing short of brilliant as every nuance and touch are considered to make the journey all the more unforgettable. Favorite stories by Poe are acted out with the rich flavor they so much deserve. Sam Pearson’s energy-filled performance as The Madman in Poe’s “Tell-Tale Heart” is as intense as it is memorable while Mbali Guliwe take on The Prisoner in “The Pit and the Pendulum” penetrates through the crowd in the intimate setting of the once pitch-black room.

Poe’s wife, Virginia, is well-played by Erica Bittner, her best as she beautifully delivers the poem she had written for her husband. The love between the two is real and eternal. This is aided by Skyler Schrempp’s great direction and executed by Gray and Bittner’s exceptional performances.

The entire audience reunites for the play’s final act, “The Masque of the Red Death”. It is a triumphant finale to an incredible journey. The scene is elegant but foreboding. It is, the perfect ending to a nearly flawless production.

Christian Gray is a force. Gray’s performance alone is worth the price of admission - easily. But when you add several other dynamic acting performances, its truly unique one-of-a-kind setting along with the masterful writing and staging to support such an incredible story, this play is one of the biggest theatre bargains of the year – and it should be experienced by everyone.

With Halloween just around the corner, the air is right and the mood inviting for First Folio’s classic take on Edgar Allan Poe.

Highly recommended.

“The Madness of Edgar Allan Poe: A Love Story” is being performed at Mayslake Peabody Estate in Oakbrook through November 4th. For tickets and/or more information, please visit www.firstfolio.org.

Catchy songs, hilarious characters and a man-eating plant. Little Shop of Horrors now playing at Drury Lane Theatre in Oakbrook has it all. With music by Alan Menken that fall in the style of 1960s rock and roll, doo-wop and Motown, we get a soundtrack that helps deliver this humorous story, perfectly enhancing writer Howard Ahsman’s vision into what became a stage and film sensation in the 1980s. Songs like "Skid Row (Downtown)", "Somewhere That's Green", and "Suddenly, Seymour" are as kitschy as they come as are the characters in this far-fetched, but seriously funny story.

We find ourselves in a local plant and flower shop – “Mushnik’s”. Business is bad and owner Mr. Mushnik is not sure how he can hold on for very much longer. His two employees, Seymour and Audrey, stand around all day with nothing to do since there is – nothing to do. But Seymour has a secret. He has been experimenting in the shop’s basement on a plant that resembles a Venus Fly Trap. But it is no ordinary fly-eating plant, it is much larger and quite unusual looking. He finally brings the plant upstairs and suggests it be placed in the store window to possibly attract passersby’s. Mushnik scoffs at the notion but figures he has nothing to lose – and wouldn’t you know it, a man enters the store within minutes to purchase a hundred dollars’ worth of roses. The plant becomes a sensation as it gets larger and larger by the day, business is off the charts and everything seems rosy for the once struggling shop. But what makes the plant grow so quickly? We soon find out and a whole world of absurdity and suspense is opened. Twists and turns ahead, folks.

At the same time, Audrey seems to show up to work each day with a new injury. It is suspected that her boyfriend, a sadistic dentist, is to blame – and Seymour won’t have that. He has a crush on Audrey and has in fact named the plant Audrey Two. As the story progresses, it becomes crazier and crazier – silly but engaging. A trio of talented singers (Melanie Brezill, Candace C. Edwards and Melanie Loren) help narrate the story, also switching back and forth between roles.

Will Lidke is terrific as Seymour and is as nerdy as one could get in the role while Kelly Felthous as Audrey nails the squeaky-voiced, ditzy blonde stereotype, ala many a Marylin Monroe role. Both deliver great comedic moments and are truly fun to watch. Ron E. Rains is well cast as Mushnik and has plenty of key moments, as well. But it is Chicago acting veteran Steven Stafford who steals many of the scenes as the abusive dentist (also playing many other roles), displaying epic comedic line delivery and perfectly timed physical humor. The voice of the plant (yes, it talks – and sings) is beautifully done by Lorenzo Rush Jr. while Matthew Sitz takes on the tough task of bringing the plant to life.

A light, though twisted, story with a slew of laughs and one likeable song after another is the prefect way to kick off the Fall season. Together with brilliant direction and choreography by Scott Calcagno and musical direction by Roberta Duchak, the musical’s superb performances and an amazing set design do this funny classic the way it should be done.

Highly recommended.

Little Shop of Horrors is being performed at Drury Lane Theatre through October 28th. For tickets and/or more show information visit www.drurylanetheatre.com.

For many, Ann Landers, the famous advice columnists behind the ever popular “Ask Ann Landers”, was thought to have the perfect life. After all, how could one dishing out advice to so many on so many subjects have any problems of her own? Well, after years of writing marital advice for countless who sought her advice – and millions who read it, “Eppie” Lederer, a.k.a. Ann Landers, was facing her own divorce after a 33-year run. Her toughest assignment to date - writing a column to her loyal followers, the many that revered her as a marriage authority, that her own marriage had fallen apart.

“The Lady with all the Answers” performed at Munster’s Theater at the Center stars Janet Ulrich Brooks as the edgy, but very together, columnist. Set in her Chicago apartment on Lake Shore Drive in 1975, the audience is invited into Eppie’s living room as the famous columnist shares stories about the advice she has given over the years – some from questions quite funny such as which way the toilet paper roll should be dispensed – over the top or from under. Brooks talks to us as though we are her personal guests, interacting with crowd members from time to time. Five minutes into the one-person play, we feel as comfortable as we would in a friend or family member’s home. The play centers around Landers' own conflicts while addressing a letter to her own readers on her marriage failure while holding on to her reader's trust of a relationship guru. Throughout the two-act play, we not only see Landers' compassion for others, but also the honesty that has held her in such high regard. 

“Eppie” talks to us about the many years of providing advice but also touches on her stances, considered unpopular at the time, as a proponent of pro-abortion and gay rights. Likeable, direct, and humorous Brooks commands the stage as “Ann Landers”, who wrote the column “Ask Ann Landers” from 1955 through 2002. Brooks is so engaging as the columnist I could have personally listened to her for hours, never a dull moment to be had, her stories as charming as their delivery.

“I’m tickled I get to play this wonderful woman who devoted a career to understanding people and doing her absolute best to help them,” Brooks said. “I feel as though I grew up with Ann Landers in my home through my mother’s sharing of columns she found funny or helpful or as a conversation starter at the dinner table. She was always very informative.”

Larry Wyatt directs this truly entertaining event wherein Brooks gives an inspiring performance as the advice columnist who was never afraid to weigh in on taboo subjects such as sex. “The Lady with all the Answers” also provides outsiders with a terrific insight as to Landers personal life so that we can appreciate not only her humor and with, but also her genuine desire to heal relationships in need and provide comfort and guidance to those who desperately sought her help. Yes, Esther "Eppie" Pauline Friedman Lederer, a.k.a. 'Ann Landers' was an extraordinary woman and Brooks is nothing less than outstanding in giving us the gift of being her confidants for 90 thoroughly enjoyable minutes.

Janet Ulrich Brooks is magnificent in every sense of the word and is a joy to watch as the beloved, cutting edge advice columnist. At the same time, the creative team of Angela Weber Miller, Denise Karczewski and Michael J. Patrick bring Eppie’s LSD apartment to life with the perfect touches of the 1970’s while Brenda Winstead and Kevin Barthel leave no detail unattended in putting together America’s household name columnist.

Highly recommended.

"The Lady with all the Answers" is being performed at Theater at the Center through August 12th. For tickets and/or more show information, visit www.theateratthecenter.com.

When Million Dollar Quartet hit Chicago, it was only scheduled for a month-long trial run at the Apollo Theatre. MDQ was the fascinating story about that historic night when Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis met together at Sun Records Studio, the place where they all got their start. They had some laughs and jammed the night away, never to reunite again. Well, we all know what happened. Million Dollar Quartet became a staple show in Chicago and ran for multiple years before finally closing its doors. The show’s writer and director, Floyd Mutrux, now takes us to the beginning when Elvis Presley met Sun Records owner Sam Phillips (Matt McKenzie) as we watch a musical career blossom like we have never seen before and will most likely never see again. The show, Heartbreak Hotel, could very well have a similar success than its predecessor, because it is packed with all the right ingredients to be another smash hit.

Performed at the Broadway Playhouse, Heartbreak Hotel gives us a glimpse to the future success of Presley, starting the show with a scene from the 68’ Comeback Special. Then we go back – to the beginning – where a young, shy Elvis (Eddie Clendening) sheepishly walks into Sun Records to record a song that he’d like to give his mother for her birthday. Prior to his visit we overhear Sam Phillips saying how if only there was a white young man who could capture the essence of the blues and make it his own – he’d become a sensation! Timing is everything. Not overly impressed with him, Phillips assistant asks Elvis what kind of music he likes to sing. Gospel – and thankfully, some blues. But Phillips sees potential after he hears him. After a few sessions of Elvis trying to get his sound at Phillips direction, it is during a break when Elvis and the studio musicians monkey with the blues tune “That’s Alright Mama” by speeding it up and adding a “rockabilly” sound to it, that heads turn, and it is realized they might just have a rising star on their hands.

The story takes off from that point as we see Elvis’ popularity take off, his record more in demand by radio listeners and a slew of sold out performances while touring, including his time with the Louisiana Hayride, a traveling show with several acts that included the likes of Johnny Cash, Johnny Mathis, Hank Williams and even Willie Nelson. Local disc jockey Dewey Phillips (played with precision by Colte Julian) can hardly keep up with the requests to play Elvis’ records. Elvis quickly outgrows Memphis. Of course, the smell of success attracts those who would like to take advantage of such. Enter Colonel Tom Parker (Jerry Kernion). Parker, a former carnival promoter, is as sleazy as they come, but he does have some big ideas and an endless supply of promotional gimmicks up his sleeve. Elvis, now too big for Sun Record’s distribution, is on the verge of being bought out by RCA – and Parker wants to manage him – for 50% of the profits. Well, Elvis does decide to go with Parker, and the rest is history as he becomes the most popular entertainer of all time.

Heartbreak Hotel mimics the style of Million Dollar Quartet in the way the songs are performed to be larger than life, capturing the excitement of the era. A highly animated, slap-happy stand-up bass player (Zach Lentino tearing it up as Bill Black), a twangy guitar with tasty fingerwork (Matt Codina as Scott Moore), big backing vocals and dancers, and, of course, a whole lot of Elvis make for plenty of electrifying action. Many numbers are co-performed by the song’s original artists, Geno Henderson very impressive in multiple roles of B.B. King, Jackie Wilson, Ike Turner and many others. By doing so, we admire, and appreciate, the origin of many songs and the artists that wrote them, and we marvel at Elvis’ creative vision to which he took those songs to a place unimagined at the time. The play hints that Sam Phillips coined the phrase “rockabilly” regarding the music of Elvis and the Blue Moon Boys, though his music traveled to places far beyond as his career matured.

Heartbreak Hotel is packed with early Elvis hits such as “Jailhouse Rock”, “Blue Suede Shoes”, “Don’t Be Cruel”, “All Shook Up”, but also contains other greats like Chuck Berry’s “Maybellene”, Little Richard’s “Tutti Frutti” and The Drifters “Money Honey”. Eddie Clendening does a really nice job in capturing the essence of Elvis from executing the moves we know so well to exuding the boyish charm and naivety the future King of Rock and Roll displayed in his younger days. The cast as a whole is well worth the wait and the band just as sensational, Zach Lentino the oft scene stealer with his happy-go-lucky bass antics. Other standouts include Katherine Lee Bourne in multiple roles, Erin Burniston as Elvis' girlfriend, Dixie Locke and Andrea Collier also in multiple roles.

Heartbreak Hotel is the extraordinary, energy-driven prequel of the highly successful Million Dollar Quartet, giving us not only a fun fact-filled history of the beginning of rock and roll, but also an exciting ride from beginning to end thanks to one power-packed musical performance after another. It is a show that can be enjoyed over and over again and is sure to stick around for a lengthy run. Clap along, laugh and enjoy what is sure to be Chicago’s next big show. This show is not just a must see for Elvis fans, but for all rock and roll fans alike.

Highly recommended.

Heartbreak Hotel is currently being performed at Broadway Playhouse. For tickets and/or more show information, visit www.BroadwayInChicago.com.

“Victims of Duty” starts with Madeleine (Karen Aldridge) sitting aside a clawfoot tub where she knits silently as her husband, Choubert (Guy Van Swearingen), reads the newspaper from his chair. Breaking the silence, she finally asks if there is anything knew in the news. There is not. Same old, same old. Their conversation centers on the humdrum of society. We sense a strong boredom between the two. Madeline enjoys the theatre, but Choubert points out how mysteries are so predictable – crime, detective (Michael Shannon), solved. It is then a knock is heard at their neighbor’s door. The two make little of it. Not much longer, the knock is heard at their own door. Enter the detective. This excites Madeline. She asks him to come in, but at first he says he can’t stay. He’s running late, he shows them his watch. He then comes in. He just has a few questions to ask them. When the two are asked about a missing neighbor, “Mallot with a ‘t’ at the end”, the mundane quickly turns into an introspective journey filled with twists and turns (literally) Choubert and Madeline will never forget.

Written in 1953, French-Romanian playwright Eugene lonesco taps into his own psyche in what is considered his most biographical piece. Choubert’s voyage includes real-life experiences of lonesco such as his tumultuous relationship with his father and a memory where he holds his mother’s hand along the Rue Blomet just after the bombing. “Murder for Two” is as penetrating as it is suspenseful as Choubert is forced to face his deepest fears. Michael Shannon as the detective or “Chief Inspector” is as powerful as they come as he guides Choubert through every step into his subconscious. He plays his character with ferocity and yet with a vulnerability that we can easily relate to as viewers, and to see the passion that Shannon so often exudes on the big screen in such an intimate setting is almost overwhelming. Karen Aldridge also puts forth a powerhouse performance as Madeline and does so by going through a gamut of emotions without skipping a beat. Rounding out the main trio is Guy Van Swearingen as Choubert who not only impresses with finessed acting ability but adds plenty of meat to the role with a strong physical performance, most of which is done while soaking wet. Richard Cotovsky (Mary-Archie Theatre fame) also makes a splash (again, literally) as French poet Nicholas D’eu.

Astutely directed by Shira Piven, takes this one-act play and runs with it showing provocative imagery at just the right moments to add to the show’s intensity. With an artistic team of Danila Korogodsky (Production Designer), Mike Durst (Lighting Designer) and Brando Triantafilou (Sound Designer), all the right touches are in place to make this a truly unique theatre experience. And smartly so, Artistic Director Kirsten Fitzgerald brings back Shannon and Swearingen who reprise the same roles they undertook in 1995 when the play first hit A Red Orchid Theatre. To round out the list of returnees, Piven also directed the play’s first run while Korogodsky was on hand as Production Designer.

“'Victims of Duty’ was the very first show I ever saw at A Red Orchid,” says Fitzgerald. “I am not entirely sure lonesco’s investigation of life made logical sense to me at the time, but it made perfect emotional sense and was viscerally stunning. So much so, that I knew I needed to work with these people in this space. That was 1996. With many of the originals returning, the investigation promises to go even deeper.”

Outside of memorable performances and its unusual setting, what makes this play so engaging is how much is left to the audience’s interpretation. Undoubtably, there are several certain moments that will relate heavily with many. There are several questions posed in the concentrated 90 minutes. Are we the victims of duty? Is it because of our place in the system that our actions should be forgiven to those we affected negatively? For instance, as Choubert speaks with his father – a former soldier - whom he has been so filled with anger for so many years, perhaps realizing that the chain reaction set off by his father’s “duty” must be recognized as the source of certain intrinsic behaviors that could not be helped rather than taking all actions at such a personal level. Maybe he should forgive his father. Maybe we should all have a deeper understanding of those around us and realize how being in such a system, whether the role that had to be taken on, has affected those they love.

Highly recommended.

“Victims of Duty” is being performed at A Red Orchid Theatre through August 5th. For tickets and/or more information visit www.aredorchidtheatre.org.