Displaying items by tag: Marriott theatre

Wouldn’t it be great if we were given a simply written book to tell us how to succeed in whatever it is we wanted to pursue so long as its easy steps were followed? Supposing we were unqualified and the book taught us how to beat the system in ten or so easy steps? Well, such would be the case in Marriott Theatre’s latest production How to Succeed in Business Without Really Trying.

In this latest Marriott musical, we are taken to the “Madmen” era of the early 1960’s, thrust back into a day when women in the business world were either secretaries or sex objects – or both - and men lacking professional skills could save their jobs simply by reaching out to the brotherhood of man, even getting women to join in their argument. We’ve all heard the phrase “fake it ‘til you make it” and in some ways everyone adheres to such advice conscious of the fact or not, meaning we can all relate. In How to Succeed in Business Without Really Trying, based on Shepherd Mead’s 1952 book of the same name, we get a highly exaggerated example of such a philosophy as well as a humorous satire of a sexist corporate structure.     

In the heart of fast-paced New York City we find window washer J. Pierrepont Finch. He immediately shows a strong desire to become something bigger – someone important. Taking a break, he reads from a book in his hands, “How to Succeed in Business”. The audience hears what he is reading – shortcuts and tricks to quickly climb the ladder in a company. One of the first steps is to “find a company big enough where no one knows what the other employees are doing”. Finch may lack the qualifications to be a business professional but has no shortage of enthusiasm or ambition. Thanks to the book’s instructions, Finch “unwittingly” bumps into the right people and quickly lands himself a job in the mailroom of a large New York company. Referring to the book as often as possible, Finch butters up important decision makers in his path and, as the book predicts, is unceasingly promoted to higher positions. When Finch first arrives at the company he is met by Rosemary, a secretary, who has eyes for the young, determined newbie. Though her advances are obvious, Finch is dismissive having his eyes firmly fixed on succeeding within the company. Naturally, his plan does not proceed without a few hiccups along the way, the book always nearby for reference on what to do in such situations. As the quick-witted newly hired employee tries to climb to the next level, company owner Biggley’s nephew Frump (who was reluctantly hired by the big boss in the first place), jealous of the attention the newcomer is getting, always finds himself scheming to bring Finch down.        

Seinfeld fans are reminded of George Costanza who cheats the system at work to always appear busy by acting annoyed at all times, continuously saying “five minutes” if someone asks for your time, keeping unkempt piles of paperwork on your desk, always having a document in hand while walking and sighing loud enough for fellow employees to hear to seem stressed. 

Ari Butler admirably takes on the role of fast talking J.P. Finch, creating a likeable go-getter that we can back as he sidesteps company protocol to better his success. Gifted with fine acting chops and a pleasant voice that holds it own, Butler is exciting to watch from the musical’s opening number “How to Succeed”. Due to Butler’s energy-filled personality and charismatic nature that he injects into the character, we can easily overlook the fact that Finch is really just a transparent status-seeking kid who, rather than working hard, wants to cut all the corners he can in order to leapfrog those who really deserve it. We still like him – and the cast is filled with goodies. Jeff Award winner Alex Goodrich, who many may remember from his leading role as “Buddy” in Elf, takes his role as Biggly’s envious nephew and knocks it out of the park garnering most of the show’s biggest laughs. Terry Hamilton as Biggley is also a delight, perhaps making his biggest splash in the duet he shares with Finch “Grand Old Ivy” to which Finch of course is lying about his alma mater to appease his superior. And while a talented and hard-working ensemble is pivotal in moving the story along in a most entertaining fashion, Jessica Naimy naturally seizes audience attention as Rosemary who is constantly vying for Finch’s attention. The striking young starlet who has in the past landed a Broadway role in Honeymoon in Vegas and has hit the road for a national tour of South Pacific, is genuinely funny as she sings and dances her way into everyone’s hearts. In the now obviously sardonic number “How to Keep His Dinner Warm” near the show’s beginning (not so sure that was the case at the show’s inception in 1967), Naimy clearly lays the groundwork for a strong performance to come.

How to Succeed in Business Without Really Trying has several big song and dance numbers that come with a large amount of pizzazz and lines that will probably be stuck in one’s head for a while afterwards. A light comedy that can’t be taken seriously with lots of laughs and snappy numbers, Marriott’s latest production is a fine escape from life’s rigmarole if just for a night, as the early 1960’s are nicely recreated helping us lose ourselves in an charming story that comes with fine acting performances.     

How to Succeed in Business Without Really Trying is being performed at Marriott Theatre in Lincolnshire through October 16th. For tickets and/or more show information, visit www.MarriottTheatre.com.

One of the world’s most popular musicals has found a temporary home at Marriott Theatre in Lincolnshire. And you should see it! Celebrating five Tony Awards, including Best Musical, the 1964 hit takes on a most interesting chapter in the life of Don Quixote while spending time in prison as he awaits a hearing with the Spanish Inquisition. Based on one of 17th century Spanish writer Miguel de Cervantes’ most famed characters the 1959 teleplay I, Don Quixote set the stage for what has become one of the most successful musicals to date. Often referred to as a play within a play, Man of La Mancha focuses on Quixote, an imprisoned writer who has turned away from the harsh realities of the world such as battle, crime and poverty and decides rather to view the world as he wants to see it where a prostitute, Aldonza, can instead be a his beloved Dulcinea, a battered cane can be a mighty sword or a cooking pot can be a prized helmet – a victorious trophy. 

Music Director Ryan T. Nelson and six-time Jeff Award director Nick Bowling take on this long-time prolific musical, splendidly piecing together a production that engages throughout and profoundly touches the heart. It is together with the powerhouse acting performance of Nathaniel Stampley, that this production goes over and beyond, becoming an instant Marriott classic and a show that will long be remembered for its superb acting and gripping storytelling. Stampley brilliantly seizes the lead role, which is really two leading roles, as the passionate writer who has defied the Spanish Inquisition along with the imaginary knight he has become in his imagination. 

Stampley is an actor you can easily root for. Magnetic and captivating, Stampley is a tour de force, capturing the character’s subtleties while becoming a dominating presence when called for, particularly during his breathtaking rendition of the production’s famed song “The Impossible Dream”, which led to a much deserved extended applause that only escalated to a higher volume every time the cheers began to die down.  

Stampley gets solid support from actress Danni Smith who delivers a memorable performance of her own, the two skillfully playing off each other to generate the much needed connection to make this show work. Richard Ruiz is also excellent as Quixote's trusty sidekick, Sancho. As all Marriott shows go, we are treated to a very gifted ensemble, as well. 

Director Nick Bowling does add a twist to the original by having the story take place in modern times. Simply said, it works. As Bowling explains, “We put the story in modern day with the notion that there are inquiries still going today and there will always be inquisitions.” Bowling’s underlying tones are powerful and serve as a wake up call for some while everyone can still enjoy a masterful musical that can be as heartwarming as it can sad and often humorous in just the right spots. 

Wonderfully acted with a slew of talented vocal performances, Man of La Mancha is a sure summer hit that is sure to make theatre goers cheer, feel and emphasize with and for a man who dares to dream the impossible dream and fight the unbeatable foe. 

Man of La Mancha is being performed at Marriott Theatre through August 14th. Tickets range from $50-$55. For more show information visit www.marriotttheatre.com.               

Possibly one of the best productions of Tim Rice and Andrew Lloyd Webber’s “Evita” that has graced the Chicago area is currently playing through June 5th at the Marriott Theatre in Lincolnshire. Powerful, rich in musical and vocal performance and brilliantly choreographed, we are treated to a Tony caliber cast, as this production of “Evita” stirs the souls of audience members throughout in its intimate theatre-in-the-round setting. Superbly directed and choreographed by Jeff Award nominee Alex Sanchez, this electrifying production of “Evita” captivates from its opening ensemble number “Requiem” and continues to do so through the end of its second act. 

“Evita” is the story of Eva Peron who became Argentina’s First Lady in 1946 and remained so until her death in 1952. Married to Argentinian President Juan Peron, Eva was the country’s ambassador and became a true inspiration for its people. Hers is truly a story of rags to riches coming from one of the poorest areas of Junin before fleeing with a musician to Buenos Aires years later where her good looks contributed to her becoming a successful actress. In 1944 Eva Duarte met Colonel Juan Peron at a fundraising benefit for a major San Juan earthquake that claimed over 10,000 lives. From there the pair became of historical fame as together, they brought together “a new Argentina” much to the skepticism of Che, the iconic revolutionary. As the two ruled Argentina, Che is suspect that nothing has really changed for the better as promised by the power couple except for the wealth of the newly married Peron’s. 

Hannah Corneau is nothing less than triumphant as “Eva Peron”. Corneau delivers a spectacular performance that is sure to be remembered long after. Strong, passionate and eloquent, Corneau is seemingly meant to play the role of Eva. And for any production of “Evita” to succeed, there needs to be a convincing “Che”. Austin Lesch is just that and even exceeds expectations thanks to his hypnotic charisma and gifted voice. Local favorite and seasoned veteran Larry Adams also turns in a sincere performance as “Juan Peron”, Eva’s love interest and future president of Argentina. The set is impressive with rising platforms emerging from the stage when needed and props lowered from above, creating an imaginative setting of 1940s Buenos Aires while the dancing and music enthralling and the story engaging – all the components of a musical masterpiece.

While the leading actors are comprehensively engaging throughout, the ensemble is exceptional in their own right. This tightly knit collaborative is sprinkled with actors who have successfully taken on leading roles themselves at Marriott Theatre such as Brian Bohr and Jameson Cooper (this being his twentieth Marriott production).  At the same time Eliza Palasz as Peron’s mistress and David Schlumpf (Magaldi) round out the cast with solid performances in their highly relevant supporting roles.  

This tour de force production comes highly recommended. There is a reason that Andrew Lloyd Webber is the wealthiest musician in the world and “Evita” is one of his greatest works. And Marriott Theatre does this production to perfection. Produced and directed with a vision that would be sure to please Webber himself, this is a must-see show. 

“Evita” is being performed at Marriott Theatre in Lincolnshire. For more information and/or tickets visit www.marriotttheatre.com. 

What happens when a 1970s dance diva goes into hiding as a nun in a neighborhood parish, you might ask? Well, let’s just say she definitely makes an impact. After Delores witnesses a murder by her boyfriend (a gangster who is married), the sassy disco queen is thrust into a witness protection program by the Philadelphia Police Department where she assumes the identity of a nun, much to the dismay of Mother Superior. Two completely different worlds collide, as the strict and disapproving Mother Superior is forced to work side by side with Delores, who is more about living on the wild side and prefers beer and cheesesteak sandwiches over the church served mutton. Though completely at opposite spectrums from each other the two eventually teach each other valuable life lessons, which plays out nicely in this humorous and charming script.  

When we first hear the weak, out of key singing by the nuns, it doesn’t take us long to figure out that Delores, a seasoned vocalist, will serve a useful purpose in her new surroundings. We just don’t’ realize how amusing the journey will be.   

Based on the Whoopi Goldberg hit film, Sister Act is a ton of fun. Not only does the production nail the 1970s, parodying the era to perfection with spot on costume design and stereotypical character traits, but it is plenty funny and has a slew of enjoyable song and dance numbers such as “Take Me to Heaven”, “It’s Good To Be A Nun” and “Sister Act”.

Pairing perfectly are Hollis as Mother Superior and Broadway veteran Stephanie Umoh as Delores. Umoh is absolutely adorable in the role while Resnik displays an acting presence that of the talented veteran she is. It is not Resnik’s first run at the role as she had played Mother Superior is national touring productions in the past. Umoh and Resnik’s chemistry make this production work ever so smoothly as they play off each other flawlessly. And though both Resnik and Umoh each provide show-carrying caliber performances, they get a lot of help from a wildly hilarious and talented ensemble.    

Every time gangster Curtis Jackson and his band of cronies come onto the stage you can expect a few good laughs. Mark Hood as lead thug, TJ, often steals the show with his far out boogie-like moves and 1970s jive talking while Todd A. Horman as Joey also makes several splashes as the wannabe hard ass sidekick. The gang hits the audience full throttle and are highlighted in their very funny number “Lady in the Long Black Dress”, a smooth ode to the ladies where they each think they are God’s gift to women.   

Mary Robin Roth, Marya Grandy and Lillian Castillo add a lot of oomph and personality to the flock of nuns while Johnathan Butler-Duplessis shines and Eddy otherwise known as “Sweaty Eddy”, the Philadelphia cop whose rich vocals really come to life in “I Could Be That Guy”.  

Don Stephenson’s directorial debut at The Marriott Theatre is “right on” while Melissa Zaremba works her magic on the show’s choreography, making this a well-rounded production that has a bit of everything one would look for in a musical comedy. 

Thoroughly entertaining, Sister Act is playing at Marriott Theatre through April 3rd.  For tickets and/or more show information visit www.MarriottTheatre.com.  

Marriott Theatre’s current production is chancy business. For a venue that theatre lovers have come to depend on for family entertainment over the years – wholesome G through PG rated shows such as “Mary Poppins”, “The King and I”, “9 to 5” and “Elf”, just to name a few, Executive Producer Terry James has decided to raunchy things up a bit by bringing in a much more adult-themed production in “Spring Awakening”. Not in Marriott’s subscription package, “Spring Awakening” is running for just over two weeks, and we have to wonder how receptive its normal crowd of theatre goers will be. Filled with f-bombs, simulated sex scenes and dark story lines, “Spring Awakening” will certainly take some of Marriott’s regular audience members by surprise if they attend without researching the play first. 

A rock musical with music by Duncan Sheik and a book and lyrics by Steven Slater, the story takes place in Germany sometime during the late nineteenth century where a classroom of children are the focus as they learn about their own sexuality and question what they have been taught by authority figures, whether it be teachers or their own parents. Under rigid instruction from their teachers, the children often stand clad in school uniforms surrounded in a light fog in front of a large blackboard, giving one the feeling that stage band could break in to “Another Brick in the Wall” at any moment. Unfortunately, this show is not nearly as musically memorable as it strains to make any impact in that department, falling far short of shows one might suggest it is akin to as “Rent” or “American Idiot”.

Despite its less-than-charged or lack of unforgettable musical numbers barring a crowd pleasing, gut-punching “Totally Fucked”, the show is not without fine acting efforts and talented vocal performances, particularly by its two leads, Patrick Rooney and Eliza Palasz. Palasz quickly shows her aptitude as a singer in the show’s opening number “Mama Who Bore Me” and impresses along with Rooney in their first-act duet “The Word of Your Body”. There are also many well-choreographed and finely executed dance pieces by the ensemble throughout the show, which IS something that can be counted on in a Marriott Theatre production. Also featured in the show are Marriott favorites Brian Bohr, Nate Lewellyn and Kevin Gudahl, all of who performed wonderfully along with local talents Callie Johnson and Hollis Resnik. There is certainly no shortage of ability in this production. 

Based on Frank Wedekind’s 1891 play of the same name, this somewhat slow-moving production centers on confused youth, the questioning of what we are told as kids, the lack of what we are told and the great distance that can often be present between a parent and their child. It is about growing pains, being misunderstood and dealing with the choices we have made – or having parents deal with their children’s choices as depicted so grimly in the show’s center act when Wendla (Palasz) gets pregnant, partly in thanks to the poor information given to her by her mother on how children are conceived. But the musical also delves into the joys of trying things for the first time, like creating new relationships or having sex.  

Though certainly not the central point of this production, it was enjoyable to see the performing band as they surrounded each end of the stage as opposed to enjoying their musicianship while out of sight from the audience. 

“Spring Awakening” is being performed at Marriott Theatre through January 31st. For tickets and/or more show information visit www.MarriottTheatre.com.           

Here we go again. Wow, this year went by fast! Christmas is again just around the corner, which means it’s time to bring on the holiday plays! This year one of the funniest Christmas shows of the season will certainly be “Elf”, now playing at Marriott Theatre in Lincolnshire. Based on the hilarious 2003 film of the same name starring Will Ferrell, the play deviates a bit from its original script but carries the same overall story-line and still pushes its simple message – to spread Christmas cheer.

For anyone to pull of this production, it all really comes down to who plays Ferrell’s character as the ever naïve and loveable elf, Buddy. Fortunately, Alex Goodrich was cast in the role. Though, he has some big curly shoes to fill, Goodrich quickly wins over the crowd - maybe not the the point of "Ferrell who?" (who can?), but he certainly does a fantastic job. Goodrich’s precise comic timing and ability to be believable as a fun-loving, child-like adult who is ever so innocent of this world makes this show a big winner.   

“Elf” is the story of Buddy, a human who is raised as an elf after he accidentally crawls into Santa’s sack during one of his stops at an orphanage. Despite the size difference between Buddy and the elves and his lack of toy making aptitude, it isn’t until he is a full on adult at thirty years old before he figures out that he is human. It’s at that time Santa sends Buddy out into the world – New York to be exact – to find his real father. From there, as one might imagine, is a story of a fish out of water in the biggest way.

Full of silly holiday songs that may not stick in one’s head ten minutes after the show, “Elf” is pretty much a laugh fest from beginning to end. And that’s okay since one does not see “Elf” because of its music, we see it because we want to laugh and get into the Christmas spirit. In this fun holiday treat, Goodrich finds himself surrounded by a strong cast, especially in Kevin Gudahl who plays Roy Hobbs, Buddy’s true dad, and Roger Mueller as a Santa Claus who actually weighs in on the “cool” scale. James Earl Jones II also delivers an enjoyable performance as the manager at Macy’s.

The point of the story is simple and clearly delivered – to get people in the Christmas mindset of selflessness and giving despite all the daily issues and problems we might be facing. And what’s even better is that we can have some good laughs while getting there.

“Elf” is a thoroughly amusing production that the entire family can share. Playing at Marriott Theatre through December 31^st, it is the perfect way to get a jump start and primed up for the holidays. For tickets and/or more show information, visit www.MarriottTheatre.com.      

Boys love their rockets. We find this out rather quickly in Marriott Theatre’s world premiere of October Sky, a new musical based on the 1999 film featuring Jake Gyllenhaal and Chris Cooper. Written by Aaron Thielen with the music and lyric by Michael Mahler, the play opens with a heavy duty musical number “Marching into Hell” where a handful of coal miners head deep into the dangerous coal mines.

Taking place in 1957 Coalwood, West Virginia, most boys are destined to become coal miners. Opportunity to take another career path are far and few between. The city depends on the mine, which has become even more dangerous with newer technology that powders the coal, leaving a hazardous dust to be inhaled and cause lung disease rather than the older days where the mineral was gather by using picks. Occasional gas explosions also take place as we find out in the first scene as news of such a tragedy leaves thirty dead in a nearby mine.

Homer’s father, John Hickam, heads a large mining crew and fully expects his son to follow suit. However, when the Soviet Union launches Sputnik for all the town to see in the October Sky, Homer and his friends are driven to make a rocket of their own. Naturally, Homer’s father sees this as a distraction, while the town supports the boys as their rockets slowly become more and more advanced, despite their moments of failure. With the help of Miss Riley, Homer’s teacher who recognizes their interest in such a science as a way to avoid the destined mining life, the boys eventually take their work to a series of science fairs. While Homer’s mother is supportive and pleased with Homer’s ingenuity, his father still struggles with the idea. 

October Sky is not just a story about boys making rockets, it is also a story about support from friends, changing hearts and perseverance. It is a feel good story that encourages one to follow their dreams.

Superbly cast, I really enjoyed Nate Lewellyn in the role of Homer Hickham. He is a bit reminiscent of a young and boyish Tom Hanks. Lewellyn displays his solid vocal range in many challenging numbers, perhaps most notably in Act II’s “Stars Shine Down”. Ben Barker, Patrick Rooney and Alex Weisman perfectly round out the quartet of rocket builders while Susan Moniz really shines as Homer’s wise and loving mother, Elsie Hickam. One of my favorite performances is that of David Hess as John Hickam. I really find it a pleasure to observe Hess’ vocal prowess and his ability to execute such a wide variety of emotions. 

The songs are lyrically clever – and often funny, while the set has a few fun surprises such as the effect used as the miners take an elevator down into the mine. Theresa Ham does a fantastic job as costume designer, really pulling off the 1950s era and Dance Captain Jameson Cooper utilizes some very unique and original ideas in the big dance numbers. The show is finally brought together tightly with a strong ensemble and a wonderful band that knows how to get their southern twang on when needed. 

One of the show’s big crowd pleasers was the knee-slappin’ number “Moonshine”, a lively number that takes place in the backwoods and has the actors playing instruments as “Bathtub Amos & The Drunk as a Skink Jug Band”.  

October Sky runs around two-and-a-half hours long but is quite enjoyable throughout thanks to a fetching story, fun effects and enjoyable musical numbers. October Sky is being performed at The Marriott Theatre through October 11th. You can find out more about the show or order tickets at www.MarriottTheatre.com. 

“City of Angels”, which won several Tony awards back in 1990 is really two stories in one. One is the black and white sexy film noir plot that author Stine (played sympathetically by actor Rob Thomas) is writing about private dick Stone for a sleazy Hollywood producer and the other story revolves around his real life. Stone is played with nice masculine swagger by Kevin Earley. Director Nick Bowling has done a great job of bringing this very complex and sometimes confusing musical to life in the round space at Marriott Lincolnshire.

The women in this show really took the reins and each had some dynamite moments. Summer Naomi Smart is lovely to look at as the classic film noir femme fatale and has her best number dressed in tennis whites as she wittily seduces her newly hired detective into her employ. 

Erin McGrath as her missing step daughter Mallory has a very sexy number wrapped only in a bed sheet also trying to seduce the detective into taking her side in the romantic number "Lost and Found".

I just adored Megan Murphy's entire dual performance. She plays both Stone’s secretary, Oolie, and Stine’s mistress, Donna. Murphy had the entire audience laughing with her number "You Can Always Count on Me". 

I've been "the other woman" since my puberty began
I crashed the junior prom
And met the only married man
One joe who swore he's single
Got me sorta crocked, the beast
I woke up only slightly shocked that I’d defrocked a priest
Or else I attract 
The guys who are longing to do my hair
You can always count on me

Murphy has a really solid, terrific singing voice and her whole character really resonated with a sense of grounded humorous reality in both worlds of this show. Buddy Fidler, the sleazy yet success making producer was adorably played by the talented Gene Weygandt.

The quartet of singers playing the 'Greek chorus" that move the story along were reminiscent of group The Manhattan Transfer and their marvelous harmonies were a delight to listen to in each scene. 

Gabriel Ruiz shows a real star turn in his smaller role as Officer Munoz his number was sung with perfect comic timing in “All You Have to Do is Wait,” referring to what he thinks is  Stone’s upcoming  gas chamber execution.

This production definitely had more seductive bite than others I have seen at Marriott Theatre and I always enjoy the way the intimate theater in the round is used to keep the audience alert and involved as actors are constantly making their entrances and exits seamlessly right through the crowd without mishap. 

Though their productions are always top notch, the only bug that regularly occurs at The Marriott Theatre is that there are not enough service areas during intermission so you have to chug whatever you do get to purchase before returning to your seat. Also drinks, even bottled water, are not allowed in the theater. This is a real problem given that if you have a cough attack or other emergency during the show because you really cannot leave the theater discretely without literally running into characters in the show. This minor discomfort could easily be solved with a few more bartenders and a water allowed policy. 

I highly recommend this lively, seductive and funny production of the Tony Award winning “City of Angels" for young and old alike. It has the sexy humor adults will appreciate and the great music and action young people will be entertained by. “City of Angels” is being performed at The Marriott Theatre through August 2^nd. For more information about the show, visit www.marriotttheatre.com. 

I truly adore anything with Cole Porter’s amazing music performed as well as the cast at The Marriott Theatre. Porter’s songs “I Get a Kick Out of You”, “You’re the Top”, “Easy to Love” and “Blow, Gabriel, Blow” are lovingly performed and choreographed to perfection.

“Anything Goes” is the still fresh and funny tale of a group of passengers setting sail for romance and adventure on a spectacular ocean liner from New York to London. When some of the passengers complain to the Captain there are not enough celebrities on board, the Captain realizes that even criminal celebrities are exciting enough to qualify and invites the two “infamous crooks” on board to dine at his table to appease the rest of the guests hunger for drama and notoriety.

Stephanie Binetti (who plays the siren Reno Sweeney) is absolutely sensational in this role. I loved that she was more glamorous than strident, less Ethel Merman and more Liza Minelli, as it were.

Jameson Cooper as Billy Crocker started out a little bit lukewarm in my eyes but after he warmed up and performed his beautiful, heartfelt rendition of “So Easy to Love”, he really won me over. One could certainly see how Cooper as Billy Crocker can so easily charm Hope Harcourt, played by the lovely Summer Naomi Smart, with his genuinely romantic and earthy interpretation of these classic lyrics.

I never get tired of the dynamic and original staging in the round at The Marriott Theatre in Lincolnshire. This makes the big dance numbers (which there are plenty of) especially rich. Having the large cast move up and down the aisles throughout the show makes every single seat in this intimate playhouse a great seat!

Moonface Martin is played with amazing comic timing by Ross Lehman.  At the same time, Moonface’s blonde bombshell moll, Erma, played by Alexandra E. Palkovic, adds just the right of amount of real old time sex appeal to this show.

I highly recommend this fun, soaring production of one of Broadways’ most beloved shows for the entire family, especially for young people who have never been exposed to the wonder and magic of well done theater in the round!

“Anything Goes” is being performed at The Marriott Theatre in Lincolnshire through May 31^st. For tickets and/or more show information, visit http://www.marriotttheatre.com/show/anything-goes. 

Get ready for men dressed lavishly in drag, big laughs and plenty of high-flying dance action. Kicking off their 40^th season in fabulous fashion, Marriott Theatre presents the smash hit musical La Cage aux Folles, a comedy that can be as touching as it is glamorous.

In this musical that debuted on Broadway in 1983, longtime life partners Georges and Albin run the glitzy St. Tropez nightclub where dazzling all male revues are regularly performed. Georges is the club’s master of ceremonies while his “wife” Albin is the star performer “Zaza”. But when Georges’ son Jean-Michel surprisingly announces that he plans to marry the daughter of an ultra-conservative politician bent on shutting down the so-called “filth” in his district, their lives take a hectic turn – and the chaos begins. In Jean-Michel’s efforts to impress his fiancé’s visiting parents, he requests for Albin to make himself scarce and proceeds to “un-gay” his father’s home in order to also appear conservative. Naturally, this is upsetting and hurtful to Albin though a reluctant Georges insists it is just for one night and that it will be something they can laugh over for years to come. However, once Jean-Michel’s fiancé arrives with her parents nothing goes as planned and the pandemonium really begins.     

Throughout this very funny theatre-in-the-round production we encounter numerous song and dance numbers superbly choreographed by Melissa Zaremba, most notably its big opener “We Are What We Are” where the audience gets blitzed with drag dancers pulling off a series of colorful costume changes. We meet a variety of characters including a take charge whip-wielding diva and can only be impressed with the St. Tropez dancers’ precision and flexibility. However, while we enjoy stunning costumes, overdone makeup and overly exaggerated female characteristics, at times we wonder if women are celebrated or parodied.

David Hess as Georges and Gene Weygandt as Albin truly light up the stage. The chemistry between the two is dynamic and projects a real sense of love and admiration for one another. Their closeness can easily be envied by so many, displaying a sincerity that is truthfully touching, uplifting and lasting. Hess and Weygandt stalwartly captain the helm of this humorous but moving story that tells us to never be ashamed of who we are.     

Brian Bohr puts out an adequate performance as Jean-Michel but the show’s real support comes from Joseph Anthony Byrd who is charming as Jacob, the couple’s butler who wants to be recognized as the maid and also desires a spot in La Cage. Always a pleasure to see Larry Adams perform, the Chicago acting veteran is entertaining as ever in this time a limited role as waiter M. Renaud.

La Cage aux Folles is a well-directed show that is as fun yet tender and should not be missed. La Cage is being performed at Marriott Theatre in Lincolnshire through March 22^nd. For tickets and/or more information visit www.MarriottTheatre.com.