Displaying items by tag: Musical

‘Darling Grenadine’ is a completely original musical with music, lyrics and book all written by the extremely gifted Daniel Zaitchick. I'm often talking about how many musicals are derived from other sources and about how I long for a wholly original play to come out that can stand up to some of the great musicals of the past - and this production really delivers. Marriott Theatre’s stage in the round is the perfect setting for this unique and inspiring new production.

The lead character, Harry, is a songwriter who made a lot of money on one of his commercial jingles. But he often downplays his successful TV ad melody, contributing it to luck and four simple notes. The talented musician now struggles with high functioning alcoholism while trying to come up with his first real play. Harry is played by the amazing Heath Saunders who recently wowed Chicago audiences as Jesus in ‘Jesus Christ Superstar’ at The Lyric.

This part could have been written for Saunders and he deftly pulls the audience into his blossoming love affair with an up and coming Broadway actress, Louise, with all of the smooth Jazz romancing of a young Gregory Hines. Harry has secretly seen Louise appearing in her own show, the aptly titled ‘Paradise,’ more times than he can remember and at first comes off as a little bit obsessive compulsive but is rewarded when Louise played by the lovely and vocally expressive Katherine Thomas returns his affections and they fall deeply in love. 

The opening song “Swell" is really fantastic, a standard classic in the making,  as Harry tells his friends and all the world that he has finally met someone "Swell"  - someone SO swell, they go together like "peanut butter and jelly, like Tanqueray and tonic..".  Harry gently sways and dances around the stage like a lover in love with a grace and pure joy that is infectious to all around him.  

                                                                                                                                                   Heath Saunders and Katherine Thomas in 'Darling Grenadine'. Photo by Liz Lauren.

But alas, like many great artists who make enough money to live on before having their major breakthrough success, Harry has "too much time on his hands" and alcohol addiction causes him to run his relationship with Louise into the ground by being overly controlling even as he is trying earnestly to help her succeed in her own career which is also on the rise without his assistance.  

Nick Cosgrove (who has played the Frankie Valli role in ‘Jersey Boys’ on Broadway) plays his best friend and kind of adopted brother, Paul. Cosgrove is wonderful in this role as the show's anchor in relation to Harry's freewheeling, almost manic, enthusiasm for musical theater and his love for Louise but eventually their relationship becomes his inspiration for the show he has always been destined to write. 

Two dogs appear in the show, one being a marionette handled with full emotional expression by Phillip Huber with a voice created ingeniously by a trumpet played by musician Mike Nappi. Dog lovers be prepared, these two canines, one live and one animated are not played for comic relief but for reality and are a very crucial part of the story - some of the darker scenes in the play will move you to tears. 

I loved the sets and how many of my favorite New York scenes are romantically recreated including the skyline, city streets, the swank Jazzy Standards Bar. 

This show is already set for a New York production and I'm so glad. I agree with other audience members who felt that the fact that only two ensemble members were juggling so many supporting roles just by changing costumes got a bit confusing’ but that's my only note. 
I thoroughly enjoyed this show from beginning to end and although I wasn't at all expecting or prepared for the emotional roller coaster it took me on, felt that it tackled how addiction to alcohol or drugs can fan the flames of an important love affair and then extinguish those flames if not conquered successfully with help of your friends and especially your furry, canine friend's love and unconditional support. 

‘Darling Grenadine’ is being performed at Marriott Theatre in Lincolnshire through August 18th. For more information on this heartfelt production, visit www.marriottheatre.com.

I’ve probably said this before — the sheer volume of shows we here in Chicago have on offer makes me count my lucky stars whenever I enter a theater, be it for an opulent touring production or for a more intimate local performance. But it’s always the latter for which I feel even more blessed — that I am, that we all are, privileged to witness the variety and virtuosity of talented artists who ply their trade around town. And no show has left me smiling more widely, tapping my toe as hard, humming along as loud, and feeling more blessed to be a witness to Chicagoland’s theater scene as Theo Ubique’s current production of John Cameron Mitchell and Stephen Trask’s now-classic Hedwig and the Angry Inch.

Entering the Theo Ubique Cabaret for this show, you enter the show’s world immediately — a bar and a black box, both — as the tools of a rock band’s trade sit onstage and colorful and off-color and culturally significant graffiti decorates the walls around it. Along with the earplugs offered at the door, Colt Frank’s simple but striking set lets you know you’re in for an evening of rock ‘n’ roll, and the best kind, to boot — the kind that’ll piss off those it’s supposed to and provoke those it’s meant for.

And an evening of rock ‘n’ roll it was! Will Lidke, headlining the show and fronting its band The Angry Inch, turns what was an Off-Broadway and Broadway musical about a rock frontwoman’s concert into said concert. Lidke’s got the posture, the preening, and the pipes to pull it off, too. Strutting on heels, flashing his fishnets, and flaunting wig after wig (all of them designed by Keith Ryan), Lidke’s Hedwig is transfixing from start to finish, equal parts Transformers-era Lou, Ziggy-era Bowie, and East German derelict and diva. He tears things apart on numbers like “Tear Me Down” and “Sugar Daddy,” breaks our hearts with “Wicked Little Town,” and makes us all a part in the singalong “Wig in a Box.” I kept thinking to myself, what I’d give to see Lidke front a band in a small rock club, and then I’d realize, I’m getting to see that right here at Theo Ubique!

Equally stage-worthy is Jacob Gilchrist (AKA Mikki Miraj), who plays Hedwig’s first husband as well as her backup singer on our side of the Berlin Wall/cabaret stage. Each time we were graced with Gilchrist’s enthusiastic song and dance, I’d think they’d be someone I’d love to see fronting a band, too. And wouldn’t you know it — by show’s end my wish came true when Gilchrist came out as Hedwig’s one-time understudy in life, rock star Tommy Gnosis.Lidke and Gilchrist are joined by a ridiculously talented cast and band. As Hedwig’s spouse and sidekick Yitzhak, Brittney Brown shows she’s got perhaps the best voice of the bunch. And as Hedwig’s Berlin mutter and his backup singer East, Adriana Tronco keeps up with her castmates throughout.

And the whole shebang wouldn’t be a banging rock show without a killer rock band, The Angry Inch. Led by pianist and musical director Jeremy Ramey, these guys KILL. Guitarist Perry Cowdery gets things started by shredding “America the Beautiful.” Jakob Smith, also on guitar, switches between electric and acoustic as the mood requires. Joseph Drzemiecki brings the bong-rattling bass. And drummer Carlos Mendoza brings the beat.

So, if you want an intimate rock show, see Theo Ubique’s Hedwig. If you want to see a production of a musical that’s now hung around long enough to reach classic status, see Theo Ubique’s Hedwig. And if, like me, you just love being reminded what terrific talent our wicked little town’s blessed with, see Theo Ubique’s Hedwig and the Angry Inch from now through the end of July.

With the Cubs finally winning the World Series in 2016 after a 108-year drought, it was probably inevitable a theatrical production would be created at some point to recreate the special magic Chicagoans felt over that incredible year. And so ‘Miracle’, the new musical by William Marovitz and Julian Frazin, has arrived at Royal George Theatre smack dab in the middle of baseball season. Directed by Damon Kiely, the story centers around Maggie’s Tavern in Wrigleyville and the direct effect a winning season has on its owners, friends and patrons.

Charlie (Brandon Dahlquist) grew up at Maggie’s. It was owned by his parent’s and not long after his mother passed away, Pops (Gene Weygandt) passed the family business on to his son. Now Charlie lives upstairs with his wife Sofia (Allison Sill) and his daughter Dani (Amaris Sanchez and Elise Wolf). Everyone helps out. Larry (Johnathan Butler-Duplessis) is Charlie’s best friend and though busy with his law firm, always makes time to lend a hand. Sofia, Pops and Dani also do their part. It is a true family business. But business is slow, back taxes have piled up (thanks to an oversight by Pops) and Charlie doesn’t want his daughter’s future to be the same as his. But they are all die-hard Cubs fans and enjoy every minute of Wrigleyville tavern life. Each year opens with new enthusiasm and optimism for everyone except Charlie.

Charlie, a former college pitcher who gave up a possible Major League career to take on responsibilities at the tavern, asks himself why he and his family keep buying into the Cubs. He knows they are bound to disappoint. They are cursed. But don’t tell that to Charlie’s family or his regulars Babs (Veronica Garza) and Weslowski (Michael Kindston) – both hilarious, by the way. They just know the Cubs are destined to win the World Series.

The story evolves throughout the year, starting with an opening day win. We watch as the wins keep stacking up. A World Series win would sure do wonders for the struggling bar and no one has more faith than Dani.

Each step of the historic journey is captured as the Cubs make the post season and take out the Dodgers to play Cleveland for the World Series Championship. Images are displayed overhead as we relive those seven games that might just go down in history as the most exciting ever to have been played. Fans cheer from the audience as their Cubbies come back from the improbable 3-1 deficit only to snatch victory in an extra-innings Wild West adventure.

‘Miracle’ entertains from beginning to end. There are plenty of humorous moments, touching moments and the story flows smoothly thanks to a well-crafted script and an all-around very talented cast (Weygandt is just terrific as Pops). Even the musical numbers are catchy –Allison Sill really displays great vocal range while Dahlquist certainly holds his own.

There is really nothing to dislike in this engaging production that centers around one of Chicago’s most memorable moments. A great way to recapture the magic of 2016, ‘Miracle’ wins in every way.

Homerun!

‘Miracle’ is currently being performed at Royal George Theatre. Performance schedule for MIRACLE is Wednesdays at 7:30pm, Thursdays at 2pm and 7:30pm, Fridays at 8pm, Saturdays at 3pm and 8pm, and Sundays at 3pm. Tickets can be purchased at www.ticketmaster.com or by calling the box office at 312.988.9000.

*Extended through September 1st

I had a blast enjoying this production of ‘Footloose the Musical’ based on the 1984 movie starring Kevin Bacon and so did the opening night audience who roared their approval and stopped the show after the rousing rendition by Ariel played with real sass and excitement  by Lucy Godinez of "Holding out for a Hero." I had a blast enjoying this production of ‘Footloose the Musical’ based on the 1984 movie starring Kevin Bacon and so did the opening night audience who roared their approval and stopped the show after the rousing rendition by Ariel played with real sass and excitement  by Lucy Godinez of "Holding out for a Hero." 

Where have all the good men gone

And where are all the gods?

Where's the streetwise Hercules to fight the rising odds?

Isn't there a white knight upon a fiery steed?

Late at night I toss and I turn

And I dream of what I need

I need a hero 

I'm holding out for a hero 'til the end of the night

He's gotta be strong

And he's gotta be fastAnd he's gotta be fresh from the fight

I need a hero

I'm holding out for a hero 'til the morning light

He's gotta be sure

And it's gotta be soon

And he's gotta be larger than life!

Larger than life

Somewhere after midnight

In my wildest fantasy

Somewhere just beyond my reach

There's someone reaching back for me

Racing on the thunder and rising with the hea

tIt's gonna take a superman to sweep me off my feet

This production of Footloose the Musical directed with fantastic energy and humorous insight by Gary Griffin is the PERFECT show to see right now for young and old alike because it is all about real love and communication and doing the right thing in your own hometown even if there is opposition on all sides. 

The surface storyline is about a small town whose church leaders have banned dancing following a fatal car crash following a school dance.

  
Of course, the show is about dancing and there is AMAZING dancing choreographed with great sexiness and joy by William Carlos Angulo throughout this show. 

Aidan Wharton plays Ren, the kid who comes from Chicago and creates a stir throughout the town when he lobbies for the right to dance. With wonderful unabashed enthusiasm and a skilled dancer, Wharton is an even better dancer than he is a singer and that's okay because this show needs Ren to be a super-natural standout on the dance floor. 

This show is all about teenagers falling in love and dancing and being footloose and fancy free for the first time in a long time. In small towns when this play took place people were often wed to their first loves, so relationships between teens were highly monitored. 

When Ren arrives in the small town from bustling Chicago the local kids warn him that "eyes are everywhere” and that every move they make is dissected day and night. There is no place to escape this scrutiny and even explore their own feelings for each other - like a dance party.

This somber and slightly scary dance number really reflects how many teens today feel about growing up in the internet age. They are feeling the constant pressure " to post...or not to post" and either way people are watching them and if they post the wrong thing or don't post anything at all. People are still judging them 24/7 often finding their lives and actions lacking. 

Ren tells everyone he sees that he is restless and can't stop moving, so he dances around all the time - which makes him seem weird or suspect in itself to those observing him for the first time in this reserved town. 

At one point the adorable country nerd and bumpkin Willard Hewitt played (delightfully by character actor Ben Barker) says to Ren in distress about his new hope for a girlfriend - "She scares me! She is the fastest talking woman I've ever met!" Ren says honestly to reassure the awkward Willard, "She talks fast ‘cause she LIKES you! She's just horny for ya!" Ben is insecure because he can’t dance, but later there is a fantastic bit of physical comedy by Ben Barker as he learns that he really CAN dance with his new girlfriend, all he needs is rhythm, sway and a little loving encouragement from Ren and the other kids.

 
Ariel, the town pastor’s daughter, is involved with the town bad boy Chuck Cranston (Ryan McBride) who is slightly mean to her and pushes her around when she doesn't want to follow him.  Chuck claims he is the "best time to be had in this tiny town” and demands that Ariel follow him into his truck whenever new teen Ren is in sight. The chemistry between Ren and Ariel is obvious from the first time they see each other. 

Ryan McBride is a dead ringer for the actor Andy Samberg and has a similarly wry sense of comic timing. McBride is also a solid singer/dancer and stands out well in this production. 

Lucy Godinez is a great singer and actress with real fire in her eyes. Godinez plays Ariel as a strong, independent woman who has a secure sense of her own blossoming sexuality even though her father is the highly judgmental and protective Reverend Moore. 

Johanna McKenzie Miller as Ariel's mother, Vi Moore, is stunningly intelligent in her role as always and emits an essence of spiritual peacefulness that lends the whole play an anchor of calm, and quiet belief in her daughter and in others to do the right thing for ALL in the end. 

To me it is obvious that Ren's character is very much a Christ figure of hope and change in this show. Ren appears without warning in the small town where dancing has been banned by the elders for several years, yet he is so FULL of life and joy that he can't STOP dancing! 

At the crucial moment of judgement by the town as to whether they will allow dancing again, several quotes about the very positive nature of dancing itself are read to the council members from the Bible by Ren in Christ-like fashion: 

Psalm 149:3 Let them praise his name with dancing, making melody to him with tambourine and lyre!

Ecclesiastes 3:4 A time to weep, and a time to laugh; a time to mourn, and a time to dance

Psalm 30:11 You have turned for me my mourning into dancing; you have loosed my sackcloth and clothed me with gladness

Jeremiah 31:13 Then shall the young women rejoice in the dance, and the young men and the old shall be merry. I will turn their mourning into joy; I will comfort them and give them gladness for sorrow.

The whole show reminded me how important dancing really is in relation to feeling a sense of love and joy in your daily life. Director Gary Griffin mentions in the press kit that he chose this show in part due to the current oppressive and depressing political climate especially for young people, which is mirrored in 'Footloose.' 

Dancing is a thing I rarely take the time to do anymore publicly or privately and being reminded in such a colorful and glorious way by this production that dancing is actually "prescribed" as a healthy form of activity by God makes me want to dance around the best I can! 

Highly recommended for all ages. I suggest you see this show and get your Spring on! 

‘Footloose the Musical’ is being performed at Marriott Theatre through June 2nd. For more show info click here.

The first time I saw ‘A Chorus Line’ was when I worked backstage for a touring production while I was in college. Perhaps it was my youth, or perhaps it was the fact that I was in the midst of the hustle and bustle of the fit and fabulous cast, but at the time, the show struck me as one of optimism and youthful energy. But all these years later, Porchlight Theatre’s current — and fantastic — production Michael Bennett’s classic look at the often-anonymous dancers on Broadway’s stages held a much different meaning for me. Instead of just being wowed by the performers’ talents, I really understood their pain and the lives they’ve lived on said stages — in the words of the number “At the Ballet”: “It wasn’t paradise, but it was home.”

I realized that part of that is the brilliance of the show, itself — that it acts every bit as its famed mirror backdrop, reflecting the audience members’ experiences and baggage back at them. But this depth also comes from this brilliant cast and their brilliant performances brilliantly directed by Brenda Didier. Of course, the talent is youthful and top-notch, as it must be for such a classic show. Christopher Chase Carter’s choreography populates the stage and pleases the eye, while the music propels things, thanks to Linda Madonia’s direction. Matthew Weidenbener gets things going with Mike’s Vaudevillian number, “I Can Do That.” Ayana Strutz’s Connie Wong confidently struts and fills the stage despite her diminutive stature. Terrell Armstrong’s Richie wows with his acrobatic dancing. While the show’s one about dancers, not singers, much of the cast has pipes aplenty — Taylor Lane and Aalon Smith’s vocals stood out, and Grant Carriker’s and Chloe Nadon-Enriquez’s married duet “Sing!” was flawless (although Nadon-Enriquez’s Kristine is not supposed to be able to sing). As far as vocals go, Adrienne Velasco-Storrs’ Diana got the show’s two big opportunities to sing — Marvin Hamlisch’s standards “Nothing” and “What I Did for Love” showed that she can sing and brought the house down, as they’re supposed to do.

But, again, it was the sadness, the weariness, and the experience that shone through to this weary and experienced version of me who attended this version of ‘A Chorus Line,’ and that was as much thanks to the performers’ take on the material as the material itself. Of course, Paul’s iconic monologue, here delivered with all the feeling one would expect by Alejandro Fonseca, manufactures emotion. But Erica Evans’ world-weary Sheila, looking for one last shot on the line, provides those same feels from start to finish; I couldn’t take my eyes off of her. Natalie Welch’s Val also draws the eye, even before her showstopper “Dance: Ten; Looks: Three,” although Welch’s age is a bit on the young side for the veteran Val. But while Val’s at last got the “it” she needed to succeed and Sheila laments the “it” that once made her successful, both of these actresses definitely have “it.”

But the real It Girl in this show is Laura Savage’s Cassie. The red dress draws the eye, of course, as does her constant backstory back-and-forth with director Zach, given both authority and empathy by Richard Strimer. But it’s the mix of confidence and brokenness that Savage brings to the role that did it. Only after the show did I learn that Savage, during last year’s Marriott Theatre production of Newsies in which she dazzled with her dancing, seriously injured herself, and has only at last recovered enough to lead this production. But lead it she does, shining as the starlet who’s looking to start back at the beginning, and who’s looking at herself in that mirror she sings about. And it is Savage’s Cassie, I guess, that spoke to me the loudest and most longingly, that gave this show the depth it was meant to have, and that most brightly shined, to myself and the rest of the audience, during this breathless, breathtaking, and unbeatable take on a timeless Broadway tale.

Through May 31st at Ruth Page Center for the Arts.

This was my first time seeing any production of ‘Jersey Boys’ and I was so taken by the music and drama of the show I went to see it again closing night - and I'm so glad I did! 

I learned so much about Frankie Valli and The Four Seasons. Here’s an interesting tidbit - they originally called themselves The Four Lovers! I haven't heard their music on the radio in a long time and hearing their songs performed so well made me realize how many of their hits shaped my view of romantic love as a child. 

“Can’t Take My Eyes Off of You” as done by this tremendous cast was a soaring delight, and one of the reasons I saw the production twice with those spectacularly romantic lyrics of pure devotion. 

“You're just too good to be true

 I can't take my eyes off you

You'd be like heaven to touch

I wanna hold you so much

At long last love has arrived

And I thank God I'm alive

You're just too good to be true

Can't take my eyes off you”

 
“Big Girls Don’t Cry,” “Oh What a Night,” “Walk Like A Man,” “Sherry” and ”Working My Way Back To You" were so much fun to hear again, especially when learning some of the back stories on how they were written and for whom. 

I was sad but not surprised to hear that like most musical groups at that time and now, The Four Seasons were forced to tour so much and were taken advantage of financially in various ways. Pressures like such caused the band of friends to break up prematurely due to the seemingly endless strains of exhaustion, loneliness along with the emotional burdens they took on, from touring in particular, as compared to staying home with their families and recording in the studio.  

The opening night performance was still fantastic! I heard some vocal shakiness here and there and saw some nervous dance energy that made the cast appear stiff in parts when trying to hit their marks with such exactness. So, I attended the next performance and the entire cast blew me away and revealed two "Rising Stars" out of the very talented 15-member ensemble. I later found out that the cast having just flown in from NY were a little tired on opening night but by the time I saw the show again, the show had gelled so well it was almost like seeing a whole new show. Audiences seeing the show from here on out have a special treat coming to their towns! 

All four leads were wonderful with Jonny Wexler as Frankie Valli, Eric Chambliss as Bob Gaudio, Corey Greenan as Tommy DeVito and Jonathan Cable as Nick Massi. The four were in lock step, perfectly executing the demanding choreography needed to recreate the band’s exciting live presence.  

The ensemble members, Ashley Bruce, Tony L. Clements, Rick Desloge, Wade Dooley, Todd DuBail, Caitlin Leary, Kevin Patrick Martin, Jeremy Startin, Chloes Tiso, Kit Treece and Jessica Wockenfuss were all dynamite as well and with production cuts each had to lay several roles and sometimes even play instruments.

The female roles in this show are mostly "thankless" cameos which don't allow for a gal to show off, but every cast member more than pulled their weight. 

Jonny Wexler made the most astounding leap from opening night jitters and by Saturday his falsetto was flawless. The gravitas missing from his dramatic scenes was in play and when I closed my eyes during "Can't Take my Eyes Off of You" I literally felt transported back in time! I felt like I was hearing the glorious impossible tones of Frankie Valli performing in his prime. 

Jonathan Cable, who is from Indiana, actually had the most NY swagger of the entire cast from night one. Cable has an extensive musical theatre background and his smooth yet masculine dance moves, growling low singing tones and wry sense of humor made him a sexy stand out that will make ladies AND gents who see this production chuckle when they remember his interpretation of bass tenor Nick Massi. 

‘Jersey Boys’ is the well told journey of how four Jersey street kids rose from neighborhood trouble makers to one of the great musical acts of their time. It’s also the story of how a teenage kid named Bob Gaudio, who penned the cheeky hit “Short Shorts,” teamed up with Valli and company, matured as a song writer and wrote some of the most memorable songs of the era.  

The pace of the show is leisurely at first then develops nicely as the backstory of each band member comes together with their own unique talents. There is a nice intermission in this two-hour-plus show which makes it a perfect date night for Broadway theater lovers - well worth the price of admission. 

I highly recommend this production of ‘Jersey Boys’ to "Lovers" everywhere for the astoundingly talented cast, dramatic staging and really heart-satisfying renditions of classic love songs that will have you floating out of the theatre on a cloud exclaiming, "Oh, What a Night!" 

'Jersey Boys’ is here on a short run through April 7th at Auditorium Theatre.

Nothing beats celebrating New Year’s Eve like being a on ship that capsizes just after the countdown. The 1972 film that features Gene Hackman, Shelly Winters, Red Buttons, and Ernest Borgnine is just that. When a cruise ship capsizes, surviving passengers are forced to travel upwards from floor to floor with the goal of reaching the ship’s bottom where they believe rescuers will be waiting or an escape through the propeller room might be had. The film, a classic disaster flick with several over the top performances, begs to become a victim of parody – and Hell in a Handbag is just the team to make this happen.

Originally staged by Hell in a Handbag in 2002, ‘Poseidon! An Upsidedown Musical’ was a tremendous hit and went on to run for a five-month sold out engagement. Accepted into The New York International Fringe Festival, no other show beat its attendance. When the show was remounted in 2009 at Chopin Theatre, it ran to great success once again and saw yet another extended run. The 2009 production of ‘Poseidon!’ was my very first Handbag experience and I’ve never looked back, enjoying nearly all the ensemble’s shows since. I was immediately hooked on Handbag’s knack for producing pinpoint camp and became a fan of the likes of David Cerda, Ed Jones, Elizabeth Lesinski and company from day one. 

So, great news Chicago! ‘Poseidon!’ is back, this time at the Edge Theatre in Edgewater. The show might be without Cerda and Jones in starring roles but puts forth an incredible funny cast with David Lipshutz leading the motley crew of survivors as Reverend Scott (played by Hackman in the film). Lipshutz is a comedic force, his deadpan delivery and exaggerated dramatic lines spot on. 

The cast is simply littered with talented actors who know how to draw laughs and ‘Poseidon!’ gives each ample opportunity to shine. Lesinski returns to Handbag and is hilarious as Linda, the impatient, self-centered wife of Rogo, a retired detective who often butts heads with the reverend and is played by Handbag newcomer Shane Roberie. Stevie Love takes on the role of Nonnie, the ditzy singer of the ship’s house band and is hysterically funny with just about every line delivered. The cast is tremendous and includes both Handbag veterans and new arrivals – Tommy Bullington takes on Belle (played by Shelly Winters in the film) and knocks it out of the park. Nicky Mendelsohn is sidesplittingly funny as ship employee, Acres (played by Roddy McDowell in the film) while cast members Katherine Bellantone, Michael S. Miller, Frankie Leo Bennet (C’mon sis! It’s a cinch!”), Scott Sawa and others strengthen an already strong cast.   

        
As an audience we are part of a group that watches The Poseidon Adventure regularly. The watching party is hosted by Caitlin Jackson who, along with her guests, comment on moments of the “film” and praises its heroes. Prior to the curtain being raised, Jackson and friends stroll around the theatre, drinks in hand, as they prepare to take their front row seats to watch the epic classic of a lifetime. 

The musical is filled with songs that are as catchy as they are funny like “Just Panties” and “(In the Water) I’m A Very Skinny Lady”. A live band is hidden away in the set that creatively flips upside down once the rogue wave strikes the helpless ship. 
Is it helpful to see the 1972 disaster film before the musical? For sure. Can you enjoy this musical if you’ve never even heard of the film? For sure.

Superbly directed by Derek Van Barham with book and lyrics by David Cerda of whom the latter also is credited for the music along with Scott Lamberty, “Poseidon! An Upside Musical’ is a super blast into comedic heaven. 
Catch the ship-capsizing wave of hilarity! Wholeheartedly recommended as one of the funniest productions you can possibly see.

‘Poseidon!’ is being performed at The Edge Theatre through April 28th. For tickets and/or more show information visit www.handbagproductions.org.

Murder in the streets, neighborhoods divided along racial lines, racial and ethnic slurs, glorified mob activities, wise guys, street fights and more. THIS is A Bronx Tale (the musical) on its first national tour after a successful 700 show run on Broadway.

Originally a one person play written and performed by Chazz Palminteri, A Bronx Tale is a 1960s coming of age story of a young Italian-American boy who is lured away from his honest, hardworking, baseball loving blue-collar family by the temptations and glorification of the local mob.

Billed as “a tale about respect, loyalty, love, and above all else: family” it is hard to ignore that the backdrop for the entire story is violence, racism, and dishonesty played to an upbeat, “feel good” doo-wop soundtrack. 

If you’re a fan of West Side Story, Grease, Jersey Boys and other similar stories, you will find A Bronx Tale enjoyable even if it follows a predictable story line where Good wins over Evil in the end. 

Featuring music by Oscar, Grammy and Tony Award winner Alan Menken, and lyrics by Oscar and Tony Award nominee Glenn Slater, the score is light, cheery, and optimistic as it keeps the story and the action moving. 

The design team earned the highest praise from this reviewer for both its authenticity and its simplicity. The set morphed almost invisibly from outdoor to indoor, day to night, without distraction. The choreography and blocking which incorporated set/prop movement was subtle and less intrusive than crew members moving around in the darkness trying to go unnoticed.

The overall performance was pleasant and but possibly a little flat according my row mates. With four of the five leads having performed as part of the original Broadway run, I may have expected too much. From my perspective the vocals lacked depth and at times the orchestra drowned out the vocals.

On a side note: Does every portrayal of an Italian-American have to include a Danny Zuko accent?

A Bronx Tale is currently being performed at Broadway in Chicago’s James M. Nederlander Theater for a limited engagement through March 24, 2019.

One could only picture what would have happened should four of the greatest rock and roll pioneers ever step foot in the same studio at the same time. And just imagine if the above referenced were Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. Well, one winter afternoon in December of 1956, that’s exactly what occurred when these four music trendsetters met unexpectedly at Sun Records in Memphis, Tennessee. Though no one outside of Jerry Lee Lewis himself (only living participant) really knows all the details of what happened during that meeting, most are quite certain a jam session like no other took place, later earning the four the nickname “The Million Dollar Quartet”.

Currently playing at Theater at the Center in Munster, Indiana, ‘Million Dollar Quartet’ brilliantly takes its audience into Memphis’ Sun Records studio where it combines theatre with a truly entertaining rock and roll show. Filled with jaw-dropping singing and instrumental feats, ‘Million Dollar Quartet’ beautifully conveys the excitement of mid-1950’s rock music while at the same time providing audience members with a good feel for the time period itself. It is no wonder this show is already a timeless classic.

Finely directed by Daryl Brooks, ‘Million Dollar Quartet’ does not require elaborate set changes, taking place entirely in a recording studio (Sun) converted from an auto parts store. The show makes its mark as one of the hottest shows on stage thanks to its amazing musical performances, well-defined characters and a storyline that perfectly delivers the enthralling supposition of “What could have been?” The story also points to the importance of Sun Records and their impact on the music world, mainly owner Sam Phillips (superbly played by Sean Fortunato) and his ability to recognize and shape the talent of each recording artist, by having them reach inside themselves. The man was simply a musical genius. But Sun Studios is a small, two-man operation and it is inevitable that each of these great artists will one day outgrow Mr. Phillips distribution and marketing ability and look to hop on larger, well-established labels.

What contributes greatly in making ‘Million Dollar Quartet’ so special is the incredible cast they managed to assemble. Not only does Theater at the Center’s cast deliver the personality traits and behaviors of each, from Jerry Lee Lewis’ dancing eyebrows to Elvis’ sneers and unique body language from the waist down, but it is each actor’s ability to convincingly sing and play as their character that takes this show to a much higher altitude.

At times, Michael Kurowski literally makes the audience forget they are not watching the real Jerry Lee Lewis thanks to his maniacal style of piano playing intertwined with the showmanship that helped the rockin’ pianist become famous. Zachary Stevenson’s sizzling guitar licks and strong vocals makes a highly believable Carl Perkins (you might remember Stevenson from his outstanding performance as Buddy Holly in American Blues Theatre’s ‘The Buddy Holly Story’), while Thomas Malouf nails Johnny Cash with spot on singing and his ability to capture his live qualities. Zach Sorrow, who first stuns the crowd with his accurate rendition of “That’s All Right” and then later seals the deal with a classic performance of “Hound Dog,” plays Elvis Presley. Together they are a force. The cast is rounded out by studio session players Fluke (Nick Anderson) on drums and Jay Perkins (Michael Sinclair) on bass who present a show worth watching in their own right. Aeriel Williams stuns as Elvis’ girlfriend Dyanne who joins in the all-star jam session with a couple songs of her own including an inspired version of “Fever” that really shakes the house.

‘Million Dollar Quartet’ starts off with a bang with “Blue Suede Shoes” and then continues to highlight memorable songs from each performer including “Folsom Prison Blues,” “Who Do You Love,” “Great Balls of Fire,” “Peace in the Valley” and many more. A good mix of concert and theatre, this is a show that is heartfelt, entertaining and sure to leave a lasting impression - not to mention have many searching through their record collection when they get home. This is a show that captures its audience within the first minute, embodies rock n’ roll fun throughout and ends on a high note with its dynamic ending as a show featuring Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis should.

‘Million Dollar Quartet’ is currently playing at Theater at the Center through March 31st. For more information visit www.TheaterAtTheCenter.com.

Opening night, February 21, 2019, at Drury Lane Theatre brought yet another colorful, energy- charged musical, this time in its latest production, "Mamma Mia!" Always a totally enjoyable night out, this production held tight the integrity of the original production and even threw in a few special surprises. Being a fan of both the movie and the stage musical, I noted early on how the producers of this particular play 'mixed it up' to bring the same story line while using their own style, effectively putting their own stamp on it.

If you are not familiar with the musical that features a wonderful Abba-filled soundtrack, the story takes place on a Greek island where Donna Sheridan, along with her daughter Sophie have made a life by opening a cozy, boutique hotel along the oceanfront. Business is good and their life doesn’t come without the usual problems, but it’s a good life.

The story really begins when twenty-year-old Sophie announces she is getting married. Donna wants to throw an amazing wedding and the planning begins. The only problem is that Sophie really wants her father to walk her down the aisle, but she has no idea who her father is. So…what does she do? She pries through her mother’s journal and narrows her father down to three men that Donna documented sleeping with just under a year before Sophie was born. Now knowing which one of the three is her father, Sophie invites all three – without her mother knowing. The hilarity really begins once the three show up on the island for the wedding and, thus, the guessing game commences.

Rebecca Hurd's performance as Sophie Sheridan, is wonderfully done, and her singing voice extremely good, as her range speaks for itself.  Donna, played by Susie McMonagle, also meets the challenge singing a variety of fun and emotional songs, while coming across nicely as Sophie’s caring and protective mother. Especially standing out was one of Donna's love from the past was Sam, portrayed by Jeff Parker. Unlike 'Pierce Bronson' who minimally sang in the movie, Jeff wows us with his powerful, engaging voice many times during the play.

The song 'Dancing Queen' done by the trio of friends, Donna, Rosie (Elizabeth Ledo) and Tanya (McKinely Carter), a.k.a. Donna and the Dynamos many years earlier, reminded the friends of a time in their life when there wasn't a care in the world – and it comes across throughout the theatre perfectly. The way they sang together couldn't help but make the audience smile. The trio together, and in their individual performances, adds an extra dose of fun to the performance!

Liam Quealy who played Sky, Sophie's fiancé had his friends rallying around him to celebrate the upcoming wedding. One very funny moment is when Sky and his friends dance on stage in full swim gear to ‘Under Attack’ causing the audience to laugh at the antics. The song and dance numbers are many, each time energy, coordination and amazing talent taking over the stage. Compliments to the creative folks behind that act, and so many others during the two-hour-thirty-minute performance.

The entire cast and ensemble are wonderful as the Abba hits keep rolling from beginning to end.  “Mama Mia” is a dreamy, uplifting production that is sure to please.

"SOS" - Get your tickets to see “Mamma Mia” at Drury Lane Theatre in Oakbrook Terrace.  Playing from February 21st – April 14th, tickets can be purchased at www.drurylanetheatre.com.