Displaying items by tag: Marriott theatre

As a Buddy Holly obsessive—glasses tattooed around an arm, email handle for years, a novel and even a podcast someplace or the other—I was beyond thrilled when I learned the fine folks at the Marriott Theatre would be reviving Buddy: The Buddy Holly Story, a show I’ve seen quite a few times over the years. About five years ago, I was privileged to review American Blues Theater’s Jeff Award-winning Buddy: The Buddy Holly Story, still one of the best shows I’ve ever seen. And as I perused the playbill for the Marriott’s current revival, names from that 2018 show jumped off the page and assured me that this production would be in capable hands.

The capable hands of this Buddy Holly are attached to Kieran McCabe, who in 2018 played The Crickets’ drummer, Jerry Allison. Here’s the thing about Buddy Holly—he was young. His very short career—cut short by a fateful winter plane ride from Iowa bound for Fargo—ended when he was just 22 years old. So, while many Buddies have the look, have the guitar chops, have the West Texas drawl, and even have the hiccupping vocals, most of them are grownups wearing Buddy Holly glasses.

Not McCabe. He brings a fresh-faced, boyish energy to the role. He’s no adult cosplaying as a kid. He’s a young rock ‘n’ roller with a pair of dark-rimmed specs on his face, a Fender Stratocaster strapped to his chest, and a whole life of possibilities ahead of him, not a care in the world. As McCabe’s Buddy leads us through Holly’s catalog of songs—did I mention the brevity of the career during which these songs were created?! — with rockers like “Peggy Sue,” “Oh Boy,” and “Not Fade Away” getting us moving, and tender ballads like “True Love Waits” breaking our hearts since we how this story ends, he transports us not just to Buddy’s life in Texas and New Mexico and New York, but more importantly to a simpler, younger time of backbeats and rockabilly. Song after song after song, Kieran McCabe’s Buddy Holly rocks.

Reprising her part from the 2018 production as Buddy’s young wife Maria Elena, Molly Hernandez joins McCabe in bringing confident familiarity to the show. Besides her role as Buddy’s muse, Hernandez also adds to the cast’s musical prowess—providing close harmonies in western girl group numbers, backing vocals throughout, and some really good trumpet playing during the show’s final concert.

Also returning to a role he’d played before is Shaun Whitley as Crickets bassist Joe B. Mauldin. Whitley leads the cast—not just the Crickets, filled out here by Jed Feder as drummer Allison and Michael Kurowski as the “4^th Cricket” (the show’s stand-in for Buddy’s real-life rhythm guitarists Niki Sullivan and Tommy Allsup), but everyone else, too—through a setlist of rock ‘n’ roll classics, from Buddy’s songs to others the audience knew and loved.

Kieran McCabe as Buddy Holly. Photo by Liz Lauren.

The rest of the cast is rounded out by musical ringers, too. Ellie Kahn as Vi Petty sprinkles angelic charm onto Buddy’s ballad, “Everyday,” as she tinkles the celesta, and plays keyboards and piano throughout, as does Cory Goodrich. Alex Goodrich’s Norman Petty and various other old-timey music industry fellows are as vital to the story as his musical contributions are to the show. Marcus Terell and Christopher Wren fill out the cast and the band, while Jordan Arredondo’s Ritchie Valens gets the crowd on their feet with a rousing “La Bamba.”

Valens, of course, died in the same crash that took Buddy’s life, as did J.P. Richardson, known to the world as The Big Bopper. David Stobbe, most recently seen stealing scenes—and his son Huck’s nest egg—in Mercury Theater’s Big River, fills out the Bopper’s flashy period suit and plays the role to the hilt. Another local favorite, Melanie Brezill—who has amazed in every show I’ve seen her in, from Chicago Children’s Theatre to a play about Nina Simone—dazzles, especially during the Apollo Theater scene in which she duets with Terell on “Shout.”

But, again, it’s the music that’s the point of this show, from Buddy Holly’s songs to Valens’ and Richardson’s and all of the other oldies the audience enjoys. And it’s this cast, directed by Amber Mak, who put the songs center stage. Because while Holly and Valens and Richardson and so many other rock ‘n’ rollers might have died far too soon, their music will always be alive, so long as there are youthful and talented singers and musicians to keep them that way. Sing and dance along, from now through August 13, to Buddy: The Buddy Holly Story at The Marriott Theatre in Lincolnshire, to this music that will never die.

There is a lot of bad content out there, particularly regarding family programming. Any parent forced to endure an hour of Cocomelon will tell you, not every show is a banger or cult classic in the making. When modern programming fails, it is nice to know we can reach into the past and find good, reliable programming in the classics. For us, those classics are Rugrats, The Simpsons, Powerpuff Girls, Fraggle Rock, and of course School House Rock. When we learned that another classic, even more vintage, had a musical, we knew we had to check it out. With 2023 being the year of 'what was old is new again,' we ventured to the Northern burbs to see You're a Good Man, Charlie Brown.

Based on the beloved Charles Schulz comic strip, the 1967 musical features Charlie Brown and the Peanuts bunch as they explore life's great questions: playing baseball, struggling with homework, singing songs, swooning over their crushes, and celebrating the joy of friendship.

We were so hopeful for this play and curious about the comic strip in musical form. There were most certainly a few standout moments such as the song "Suppertime" performed by Snoopy and "Beethoven Day" performed by Schroeder, but overall, the songs and music were quite forgettable; no one would be caught singing a song from this musical at an audition.

Much like the comic strip and small vignettes on DVD, the play did not really have a plot or a story arc. What motivates the characters? What is the climax or problem of the story? If this Charlie Brown person claims he has no talent and nothing to offer, and throughout the play we see him live up to that expectation, what is the point of watching him or the people in his life? One could reach for a plot in that Charlie Brown is a good man simply because he is so ordinary that it makes those around him stand out even more, even though they aren't particularly fascinating. We could even venture that he's a good man because he truly does no evil, only sort of floats around innocently, keeping to his own. he does good by doing nothing and allowing his friends to be themselves (even at his own detriment). 

The musical was short and sweet, just under an hour run time with over 20 songs. It's a small cast and simple design, and the Lincolnshire Marriot 360 Theatre ensured you saw every minute of the play from any angle. The only real redeeming quality of the show is that children loved it. In its simplicity and sweetness, it found its niche with the children in the audience whose faces lit up when Snoopy started to talk and when Linus sang a ballad to his blanket. Maybe our brains crave more action and drama than Charlie Brown would deliver (he is rather unextraordinary after all), or maybe Charlie Brown doesn't resonate like it did in the 60s and 70s, but nevertheless, it does have some lasting power, reaching out across generations to bring Boomers and Gen Alpha together for a brief moment out of lives. And maybe, just maybe, that was the real purpose of this musical.

You're a Good Man, Charlie Brown is playing at the Marriott Theatre in Lincolnshire and runs through April 1st. Grab the kids and grands and secure your tickets today. 

What first made its mark on Broadway ten years ago in November 2012, has now become a traditional holiday play for theater goers to attend – when it comes to town. Based on the mega-popular film, A Christmas Story: The Musical is regularly being mounted by theater companies come November for families to enjoy. Already well-equipped with the humor, timeless plotline and loveable characters from A Christmas Story, the musical adds to that by bringing in a massive selection of numbers written by Pasek and Paul (book by Joseph Robinette) that make this a big stage event that is sure to get everyone in the holiday spirit. And while so many films or TV shows don’t really translate to the live stage, A Christmas Story: The Musical does.

Based in Small Town, Indiana, the story revolves around a family in 1940, Ralphie Parker specifically, wonderfully played in this production by Kevan Newman (also played by Keegan Gulledge in alternating performances). Christmas is around the corner and all Ralphie wants is the Red Ryder Carbine Action BB Gun. But whenever he brings up the BB gun to anyone, he is promptly shut down and told “You’ll shoot your eye out,” repeatedly his hopes are dashed, but Ralphie can still dream. Ralphie gets a brainstorm when his teacher, Ms. Shields (fantastically played by Jenna Coker-Jones) hands out an assignment for her class to write an essay on what they would like for Christmas. Simple, Ralphie will write about the Red Ryder Carbine Action BB Gun, and everyone will be so impressed his parents will have no choice but to gen him the gun. Well, not so simple as a series of hilarious sequences take place and Ralphie’s Christmas plans are not looking so certain.

At the same time, Ralphie’s father cast as The Old Man and brilliantly played by Lorenzo Rush, Jr., has finally won a prize for his relentless efforts at a crossword contest (thanks mainly to the help of his wife deftly played by Sara Reinecke). The prize might not be close to the generous cash awarded for the top spots, but it’s a prize – and it’s his prize, and he couldn’t be prouder of his tacky lamp of which its base is that of a show girl’s leg. He places it so it is displayed in the home’s from window and he is the envy of his neighbors.  

That lamp is just one more reason for holiday cheer in the Parker household.

The dynamics of Ralphie and his family 1940’s living is just so enjoyable to watch and the surrounding characters in this funny musical have so much to offer. Seasoned actor, Kevin McKillip, narrates the story as a grown up Ralphie looking back and reminds us why he considered one of the finest stage performers in the Chicago area. His timing is impeccable. And going back to Coker-Jones, she is most certainly another one of the show’s standouts, while Lorenzo Rush, Jr. is a thrill to watch in just about every scene he is graces us with – and, wow, his singing voice!

Performed in the round at Marriott theatre, A Christmas Story: The Musical is a holiday hit that has it all. From its nonstop laugh out loud scenes to its big, colorful song and dance numbers to its warm and moving story at its core that centers around family, this is a sure-fire treat to add to this Christmas season’s to do list.

A Christmas Story: The Musical is being performed at Marriott Theatre through January 1^st. For tickets and/or more show information click here.

You’ve got to give Marriott Theatre credit for always swinging for the fences. Just this past year, I’ve seen them put on The Sound of Music and West Side Story, two shows that any audience will know as well as the cast. But that’s because these beloved shows are beloved by audiences, because they are that good. And the Marriott Theatre can always pull it off—putting on great productions of said shows and leaving audiences thrilled in the process—because of the consistency and quality of their casts and their crew.

Marriott’s current production of The Wizard of Oz—an abridged but always charming version “for all ages”—is the theater’s latest big swing. And they do not miss. The audience, truly of all ages, was enthralled for the hour-long runtime, enchanted by the standards that were sung and the famous lines that were delivered, by the immersive Land of Oz allowed by the theater’s in-the-round setup and by the magical characters who live there.

But first, we Dorothy. Earlier this year, Campbell Krausen was a standout in Marriott’s Sound of Music, playing the angsty Austrian near-seventeen-year-old Liesl von Trapp. Now, Krausen finds herself not in the Alps, but in Kansas, and gives a smiling and wide-eyed performance as Dorothy Gale. Once in Oz, Krausen’s drab rural surroundings give way to a colorful world made more so by the cast.

Harriet Nzinga Plumpp has all the haughty cheer that Glinda the Good Witch must possess. Jacquelyne Jones strikes fear into any of us who, as children, watched Margaret Hamilton through closed eyes on the TV screen. Allison Sill’s Scarecrow flops and cavorts like a regular Ray Bolger (Sill also hosted a sweet Q&A session with the audience afterwards). Michael Turrentine’s Tin Man is all heart. And Lorenzo Rush Jr.’s Cowardly Lion is a hoot. Once Kevin McKillip’s Oz steps out from behind the curtain, he too is stellar.

But it’s the ensemble who make this show really special. I have seen Laura Savage in a few shows now—everything from A Chorus Line to Newsies—and each time I’ve seen her, whether she’s headlining or working hard on the chorus line, she’s been the MVP. Here, she does her thing, joining Mandy Modic (who’s also the human and handler of the handsome gentleman playing Toto, Sir Reginald) and Matthew Bettencourt (who’s all Munchkin energy and Emerald City wonder) to become the terrifying twister, the grateful folk of Munchkinland, the Wicked Witch’s enslaved henchmen, and more.

And these people are the reason that Marriott Theatre is able to consistently put on worthy productions of the standards—these talented actors all bring their gifts to the Marriott stage, where they show that they love the Land of Oz and all of its wizardry and wonder every bit as much as the audiences lucky enough to see them perform, here in The Wizard of Oz, through August 7.

I've seen a lot of Elvis Tribute Artist shows over the years and have enjoyed them all. They’re nostalgic and fun and, while some are better than others, they are always a good time. And I really love the fact that there always seems something unique in each artist that makes them special in their own way. Brandon Bennett (of Chicago's MILLION DOLLAR QUARTET) is no exception when he wowed audiences for two nights at Marriott Theatre in Lincolnshire in ‘Elvis My Way’ where the headliner performed sweet, charming and soulful versions of Elvis's classic hits in chronological order. Bennett was accompanied by two excellent backing singers and a terrific four-piece band. 

From “Blue Suede Shoes,” “Can’t Help Falling in Love,” "That's Alright Mama," and 
“Suspicious Minds”, the talented Elvis Tribute Artist (ETA) performed many fan favorites and a few that were a bit more personal to Bennet himself.

Every artist has their own take on Elvis and often chooses one of the Elvis age ranges to play based on their own looks and age, but this was the first time I really felt the sweetness and calm comforting side of Elvis performed for an entire show. Bennet connected with the audience and often told interesting stories between songs – a few I’ve never heard, like the fact “Kentucky Rain” almost became an Eddie Rabbit (author) song instead of the well-known Presley anthem we’ve all come to love.

Bennett, who has made featured television appearances on The Late Show with David Letterman, NBC Nightly News, and was named "Ultimate Elvis tribute Artist by Elvis Presley Enterprises at Graceland,” mentioned that he had personally suffered through the death of a child and made the audience feel they were really sitting in on a private, intimate performance with The King. The song he sang to his late son to get him to fall asleep was none other than “I Can’t Help Falling in Love (with You)”. His performance of that number was extremely heartfelt, and it while it was hard not to feel what he must have gone through, we also got a glimpse of how the music of Elvis has touched so many.    

Brandon apologized on a couple of occasion for unforeseen vocal issues, but I thought he sounded amazing regardless and would not have guessed his voice was not up to Bennet’s usual standards. In all, Bennet puts on one hell of a show that we can take home with us in our memories for some time.   

With the new Elvis biopic stirring up new interest in Elvis's genius for a whole new generation, this is a great time for Brandon Bennett to be in the prime of his life with a wonderful, funny, heartfelt show that I highly recommend for all ages. 

You can learn more about Brandon Bennet in "Elvis My Way' here. 

For most of us—those reviewing theater or those thinking about attending or just about anyone, I guess—Rodgers and Hammerstein’s The Sound of Music is omnipresent. Just a part of our existence. The original soundtrack in everyone’s grandmother’s vinyl collection, with all of those songs. The 1960s film version that once played on television annually, a family event (at least for mine). And all of the attached memories. It’s like The Wizard of Oz or The Bible or The Beatles. It just is and always has been, and we all have some kind of connection to it.

So, with that in mind, I was both excited to see the Marriott Theater’s new production of The Sound of Music, but also wondered how anyone might put on a production that can compete with memory, with perfection, with Julie Andrews. But, like so many other wonderful Marriott shows, Nick Bowling’s The Sound of Music delights.

The level of talent on the stage becomes clear right from the start. Nuns from an Austrian abbey parade down the theater-in-the-round’s four aisles with candles, then launch into the show’s opening “Preludium.” With all the beloved classic songs to come, this is still the moment of the show that stuck with me most—the cast throws down the gauntlet, announcing they can sing, and do they ever. I got chills from the acapella chorus. I’ve got chills remembering it as I type.

And then we meet Maria. While no Julie Andrews, Marriott newcomer Addie Morales doesn’t need to be. She’s herself, and she charms as soon as the spotlight first hits her. A lovely singer who shows off her range, it’s her overall being that shines from the stage just as much as her voice. Again, while all her own woman, Morales shares Andrews’ ability to draw the eye and ear whenever she’s onstage.

But the rest of the cast, those not in the nunnery, are every bit as good. The children, who I worried might be hamming or annoying, were all very genuine. Campbell Krausen, who plays 16-year-old Leisl, not only shows awkward teenage chemistry with Emmet Smith’s Rolf, she really seems to encourage and mother-hen her onstage siblings. Brody Tyner as Friedrich has not just astonishing vocal chops, but accompanies on guitar on a couple numbers. Erik Hellman plays Captain Georg Von Trapp, family patriarch with a rough edge that eventually softens.

Marriott’s ensemble, as always, is consummate. Heidi Kettenring and Rob Lindley really work as the two on-the-fence Nazis who provide a bit of drama and plot to this story that’s really about all those songs. And those songs... Again, the entire cast can sing. And they’re made all the better by conductor Patti Garwood’s orchestra. And, if you want to realize just what songs they are, what a show this is, and what a wonderful production that The Marriott Theatre is presenting of The Sound of Music, find out for yourself, now through June 5 in Lincolnshire.

I’m not sure how long this honeymoon feeling of returning to life as a theatergoer will last. That butterflies-in-the-belly, waiting-for-the-lights-to-go-out feeling just before the show starts. Right now, I tell myself that it’ll last forever. That I’ll never take for granted what I was—and all of you lovers of a good show done well were—lucky enough to enjoy until the past two years. That I’ll watch every show like it could be my last. Who knows if this feeling will last? I hope it does.

But I’ll tell you what…the cast and crew of Marriott Theatre’s West Side Story are putting on a production that shows that us theatergoers weren’t the only ones itching to get back to it, putting on a show like it could be their last.

That the production is Leonard Bernstein’s classic was a great choice. Its content, while still thought-provoking and fitting for our fractured world all these decades later, is also well-known, proven, comforting. We know what to expect, the cast and crew know what to do, and then we all hope it goes according to script.

It does here. The two leads, Lauren Maria Medina as Maria and Jake David Smith as Tony, are both very talented vocalists, comfortable with the challenging melodies Bernstein gives them. They play their parts, they sing their songs, they live their lives, as the Maria and Tony we as the audience want.

The roles of Anita and Bernardo, of course, won best supporting Oscars for the 1961 film version, and here they are filled by Vanessa Aurora Sierra and Gary Cooper. Sierra captured my attention whenever she was onstage, bringing not just the passion the role calls for but a real joy, too. Gary Cooper (that name!) brought physicality to Bernardo and the fight scenes, but matched Sierra in having that extra presence, too.

The ensemble—a highlight is the Shark Girls led by Sierra in a rousing, syncopated “America”—pulls off stunning dance numbers and tightly choreographed fight scenes, and does them well. And, like the four actors mentioned above, they give each of them that little something extra, that little bit of joy that just makes this a production to see and enjoy.

Because, like I said, West Side Story can certainly still make us think—still is making me think—socially, about what can be done to make life better. But West Side Story—done so well, now through March 27—also shows us how good life is, how good life can be. We have these beloved songs and characters, and we have such talented people like those in this cast and crew who will give that little bit more to live up to the material, who will play each show like it might be their last, and who, thank goodness, are still here to provide us grateful fans that feeling you get when you’re waiting for the lights to go out and for the show to start.

West Side Story is being performed at Marriott Theatre in Lincolnshire through March 27^th.

We all love a good comeback, a big bang, a triumphant return. After nearly two years of having to avoid the theater, and any overly crowded place, the Marriott Theater has returned to hosting shows with a genuine Broadway caliber production. Kiss Me, Kate, Broadway classic that earned the very first Tony Award for Best Musical finally hit the Marriott Theatre stage and it was the welcome back kiss we all desperately need.

Kiss Me, Kate is a clever portrayal of Taming of The Shrew, with the familiar 'show-within-a-show' troupe. Passions run high as leading lady Lilli Vanessi and her ex-husband, actor and director Fred Graham, battle onstage and off in a production of Shakespeare’s Taming of the Shrew. KISS ME, KATE combines the irreverent humor of two brilliant writers - Cole Porter and William Shakespeare - with a battle of the sexes and a bickering liaison, mixed with a number of cases of mistaken identity, the mob, and comedic routines. Musical numbers include “Another Op’nin, Another Show,” “So in Love,” “Wunderbar,” “Too Darn Hot,” and “Brush Up Your Shakespeare.”

Director Johanna McKenzie Miller took approached this Broadway classic with a modern take, making this play relatable even by today's standards. “Rather than changing what was originally on the page," says Miller, "I hope to make sense of it in the present day and give women the voice they need to tell their stories." This vision plays out across the stage thanks to the powerhouse female performances of Alexandra Palkovic as Lois Lane/Bianca, Allison Blackwell as Hattie, and of course Susan Moniz as Lilli Vanessi/Katharine. Moniz's vocals and star caliber were unparalleled in her performance ranging from soft and feminine, to channeling Shakespeare's Katharine as a male-hating, fiercely independent and strong, just listen to Moniz's rendition of 'I Hate Men' and not be fully rooting for her the rest of the play.

Having never seen or heard of this production before, much to the chagrin of my musical theater friends, Kiss Me, Kate was everything one needed in a play. It was witty and smart with plenty of flashy musical dancing numbers. What made this production a standout was every actor in the ensemble performed with their whole bodies. Every feature, kick, twirl, fall, and look conveyed precisely what it needed to, leading the audience to swoon, to laugh or gasp, it was truly an immersive experience. The Marriott Theater's 360 stage lent itself to the immersion as well and the mask-clad audience members all laughed together as Petruchio/Fred, played by Larry Adams, attempts to kiss the fair Kate. 

In the current age where kissing could be frowned upon as a non-covid friendly activity, Kiss Me, Kate was the perfect welcome back to the stage. The Marriott Theater is also committed to everyone's health and safety requiring proof of vaccination or negative covid tests. Audience and cast members alike can rest assured that their experience will be a memorable one filled with worry one liners and clever Cole Porter songs as opposed to catching a virus; a much better proposition in my humble opinion. So dawn your gay apparel and most festive masks and head to The Marriott Theater for a classic-classic-modern tale that was worth the wait. Kiss Me, Kate is playing at The Marriott Theatre, 10 Marriott Dr. in Lincolnshire, and runs through January 16, 2022.

It’s time to go back to high school – for a couple hours anyway – and the year is 1959. The time for slicked back hair with full-on pompadours, bobby socks with pleated knee length skirts and hanging out at the malt shop have once again returned as Marriott Theatre has begun 2020 on a strong note bringing the classic rock and roll musical ‘Grease’ to the stage. And though maybe not quite the R-rated, profanity-laced production that first hit Chicago when it was initially produced in 1971 by the Kingston Mines Theater Company in Chicago, there is still enough teenage-driven attitude, raunchiness and high school spirit to successfully deliver the spirit of the original. 

The story, which is based on co-writer and co-composer Jim Jacobs’ own experiences at Taft High School in Norwood Park, takes place at ‘Rydell High,’ walks us through the senior year of a handful of colorful characters. Greaser Danny Zuko (Jimmy Nicholas) returns after summer break to lead the T-Birds while, at the same time, Sandy Dumbrowski (Leryn Turlington) is just getting her feet wet at Rydell, a brand-new student whose family just moved to the area. It turns out the two had a relationship over the summer while on vacation, but their stories couldn’t be more different. While too-cool-for-school Danny tells a more vulgar description to impress the gang where the two were “getting friendly down in the sand,” Sandy, intercepted by the Pink Ladies led by tough and sassy Betty Rizzo (Jacquelyne Jones) a.k.a. “Rizzo,” tells the girls a wholesome version more along the lines of meeting a cute boy, holding hands, having lemonade and staying out until 10 o’clock. Thus, explained to perfection in the show’s second number “Summer Nights”.   

Not long after, the two are beyond surprised to find out they are attending the same school, but Danny’s cool image that he holds so dearly might just get in the way of rekindling any kind of romance they once had. While centering on Danny and Sandy, ‘Grease’ also keeps us busy with plenty of T-Birds and Pink Ladies action. Danny’s second in command, Kenickie (Kevin Corbett) is building a hot rod the fellas call “Greased Lightning”. It’s a hunk of junk, but he can dream. T-Birds Sonny LaTierri (Jack Cahill-Lemme), Roger (Jake Elkins) and Doody (Michael Kuroswki) cause trouble whenever they can, talk about rumbling with other gangs (they don’t) and just love to horse around any chance they get. 

The Rizzo-led Pink Ladies take Sandy in. She’s far too squeaky clean for their taste but maybe a pajama party with booze, cigarettes and ear-piercings might loosen her up. Frenchy (Landree Fleming) wants to be a beautician and drops out of high school, Marty (Michaelle Lauto) crushes on TV dance host Vince Fontaine (Curt Bouril) and Jan (Tiffany Taylor) has the hots for Roger, a T-Bird who really loves mooning people. 

There are plenty of ups and downs along the way for these seniors and plenty of unforgettable moments take place. Director Scott Weinstein not only does a fantastic job at staging this production in the round, he gives the audience what we want most of all – a nearly flawless recreation of the hit show so many of us grew up with. William Carlos Angulo beautifully choreographs the dance numbers to Ryan T. Nelson’s musical direction, particularly in “Greased Lightnin’” and “Born to Hand Jive” and the casting is just superb. Jimmy Nicholas brings the looks, the cool and the comedic timing to pull off an admirable Danny Zuko, while Leryn Turlington delivers the sweetness and innocence (and toughness at times) needed to play Sandy. Turlington also impresses vocally, especially in the key number “Hopelessly Devoted to You”. As good as Nicholas is as Danny, you can’t have a convincing leader of the T-Birds without strong support from his gang and Corbett, Cahill-Lemme, Elkins and Kurowski are simply terrific. Each have plenty of their own moments to shine, but when together, it’s not hard to imagine these goofballs being the best of friends.

Equally impressive is the chemistry and individual acting chops of our Pink Ladies. While Jones truly does stand out in this production (her rendition of “There are Worse Things I Could Do” – wow!), Fleming has plenty of laugh out loud moments as Frenchy while Lauto and Taylor have their own scene-stealing moments. 

Garrett Lutz also makes a funny Eugene and Kelly Anne Clarke is solid as Miss Lynch, but it is Jonathan Butler-Duplessis as Teen Angel who, though not as featured as the rest of the cast, might just leave the audience with the biggest impression of all after his show-stopping performance of “Beauty School Dropout”. 

‘Grease’ is a hit for good reason. What took off from a small Chicago theater company, made its mark on Broadway (16th longest run in history) and inspired a 1978 mega-hit starring John Travolta and Olivia Newton John, has now become an iconic part of pop culture. It is a story that so many of us can relate to, no matter when we went to high school.  From real teenage moments and hysterical antics throughout from the show’s many lively characters to well-executed song and dance numbers that keep your toes tapping, Marriott Theatre’s ‘Grease’ successfully keeps the classic musical alive in their own unique way while holding onto the integrity of the show. 

The arsenal of great songs is plenty and includes such familiar tracks as “We Go Together,” “You’re the One the I Want,” “Look at Me, I’m Sandra Dee” and “Alone at a Drive-In Movie.” 

Highly recommended for those who enjoy laughing and listening to catchy music. 

‘Grease’ is being performed at Marriott Theatre through March 15th. For tickets and/or more show information, visit www.MarriottTheatre.com. 

The first time I ever saw Oliver!, it was the 1960s movie version. I saw it at one of those old-timey theaters where an “old” guy (this was the 1980s and I was a wee lad, so the organist very well could’ve been a pimply teen keyboard prodigy and I’d have still pegged him as a geezer) played the pipe organ and they showed “old” movies (I remember seeing Laurel and Hardy there, too) and it was supposed to make you feel like it was the good-old days. Well, I know I didn’t recall much of the plot, but that Oliver!’s characters and musical numbers sure made a big impression — a big enough impression that my reintroduction to them, all these years later, by the Marriott Theatre’s current production, made it feel like being reacquainted with shabby old Cockney chums on the Victorian London streets in which they make their questionable livings.

When my date for the night, my six-year-old daughter who’s already a Broadway kinda gal, asked me what Oliver! was about, I told her it was “Annie with boys.” That explanation appeased her beforehand, and it made even more sense as we watched the show, because in Oliver!, it’s the kids who do the heavy lifting. From the opening number, “Food, Glorious Food,” the urchins whose lives are spent in either the poorhouse or on the London streets are the focus whenever they’re onstage. And the boys (and yes, unlike Annie’s female orphans, these kids are all male), despite their coal-smudged cheeks and their ratty rags and hand-me-down threads, light up the stage whenever they take it, especially in big numbers like the afore-mentioned “Food, Glorious Food,” as well as “Consider Yourself” and “You’ve Got to Pick a Pocket or Two.”

The two young stars of the play do as much shining as any of their peers. In the performance I saw, Kayden Koshelev played the eponymous orphan (he’ll be alternating performances with Kai Edgar). Koshelev is a little guy, tiny in comparison even to the other kids. But that makes him stand out, actually, and makes the audience care for him even more. Patrick Scott McDermott’s Artful Dodger steals each scene he’s in, his Cockney accent on point, his top hat held high, his eyes twinkling through the gloom and doom of his homeless, criminal existence.

And the adults who force this existence on their youthful stage mates are every bit their younger peers’ equals. In the movie version, I remember being terrified of Fagin. But in this production, William Brown brings the heart he recently brought to Into the Woods — sure he’s a crook and takes advantage of the boys who are his wards, but he’s a vulnerable villain. The same cannot be said for Dan Waller’s Bill Sikes; I wish Waller had a bigger part, because while he wasn’t the imposing figure, size-wise, I remember the film Sikes being, Waller’s demeanor and attire sure made a dark impression. Matthew R. Jones’ Mr. Bumble was also a daunting adult for the poor kids to deal with, although he was allowed some humor thanks to Bethany Thomas’ Mrs. Corney (Thomas, too, displays her range, this time as a character actress after carrying the recent Into the Woods).

But it was yet another star from Into the Woods who shined brightest in Oliver! — Lucy Godinez’s Nancy. Godinez starred, of course, as Little Red Riding Hood, and helped make that production. But, if it’s possible, she’s even better here, showing just as much warmth as Brown’s Fagin for the ragamuffins, and providing the highlight of the show with her take on “As Long as He Needs Me” — her performance of that song alone will have me looking for any future productions she’s in.

So, just like the film version’s plot made little impression on a little me, while its cast and music did, I can say the same for the Marriott Theatre’s current production of Oliver! — come for the charming Cockney characters and the tunes, glorious tunes. You won’t leave with an empty belly.

At Marriott Theatre through December 29th. For more information visit https://www.marriotttheatre.com/.