Displaying items by tag: Musical

Forget about the lofty plans you had for the day, the goals you had set.  Grab your girls, all your friends, your snacks, your drinks, and head over to Miss Cook’s Women’s Gym!

WaistWatchers the Musical will have you and your friends laughing hysterically and cheering along with MC, Cheryl, Cindy, Carla and Connie.  Up close and personal within the alcoves of the Royal George Theatre, inspiring you through sweat, tears, song and their supportive friendships, we go through the struggles of these strong women trying to reach their gym goals. Their reasons vary. For some it is for love, others for acceptance of themselves, and some for those who just want to control their cravings for the decadence of delicious life.

                                                                                                                With the terrific cast of WaistWatchers the Musial

The cast is finely tuned and features fantastic performers like Martha Wash, a two-time Grammy nominee (Connie) who we all know as one of the The Weather Girls that brought us “It’s Raining Men” and "Everybody Dance Now".  Along with the powerhouse voices of Katherine S. Barnes (MC), Krissy Johnson (Cheryl), Sarah Godwin (Cindy) and Kiley L. McDonald (Carla). This 90-minute musical, which allows audience members to refill their snacks and drinks throughout the non-stop performance, contains a plethora of musical styles from pop and soul to country. The sassy musical includes remakes of songs that we love, clever lyrics and plenty of cheeky commentary. After watching this fun and inspiring show you will probably wonder when the next open class is available near you. 

Created by Alan Jacobson (Book and Lyrics) with Vince DiMura (Music) and directed by Matt Silva get your tickets to WaistWatchers the Musical now. Show times are: Wed. 7:30PM, Thu. 2PM & 7:30PM, Fri. 8PM, Sat. 2PM & 8PM, Sun. 2PM. For more information on this highly humorous musical, visit http://waistwatchersthemusical.com.

I was so excited to see this production of " Sweet Charity" partly because I remember Shirley MacLaine’s spectacular dancing in the film version of this very funny Neil Simon hit play. 

The main character Charity Hope Valentine, played with pizzazz by Anne Horak, is a dance hall girl who falls for all the wrong guys. Charity literally falls, as she is actually shoved into the water by one of her money grubbing "boyfriends" as he steals her purse before exiting her life. Anne Horak has all the charm and naivete of the original character and gives the play that breath of fresh air quality that keeps the audience from thinking that Charity is purely a victim of circumstance who is not smart enough to save herself from the predators that she and the other pay to dance women must fight off while dancing. 

Many of the girls are tempted into prostitution though the dance hall to make enough money to survive in the city, but Charity staunchly refuses to give in and keeps looking for her "husband and life in suburbia" by taking a self-improvement class at the YMCA. There she meets a funny, neurotic and at first kindly seeming fellow, played with scene stealing physical comedy by Alex Goodrich. 

Charity also meets and is befriended and told how special she is (but not molested) by an Italian movie star (Adam Jacobs) where she gets to deliver that trademark song from his hotel suite "If My Friends Could see me Now!" 

What is super interesting and modern about Neil Simon's script is that in the end, even the "nice guy" admits to Charity that if given the chance he will turn on her emotionally and ruin her life with his critical and jealous nature regarding her physical beauty and job as a dance hall girl - which could be compared with being a stripper in today's terms. 

But Charity, who has searched for love high and low, does not wallow in a depression nor does she attempt to kill herself. Rather, she picks herself up and begins again to live with Hope, which is after all, her middle name!

Bob Fosse's amazing choreography is spectacularly preserved and brought to life by choreographer and director Alex Sanchez and a highly GIFTED ensemble of dancers in all of the numbers especially 'Big Spender" and the jaw dropping "Rich Man’s Frug". The dancers; Terry Hamilton, Joe Bigelow, Elyse Collier, Lexis Danca, Alex Dorf, Alejandro Fonseca, Eben K. Logan, Hanah Rose Nardone, Adam Rogers, Laura Savage, Alex Smith, Kyra Sorce and Jessica Wolfrum - ALL deserve a mention by name. This dance ensemble moving in the demanding, super sexy, exquisitely detailed Fosse style arrogance while holding their long cigarette holders with their upturned noses in the air nearly brought the house down.

The entire cast's costumes were superbly designed with great eye-popping color and rich textures by Mieka van der Ploeg that really captured the mid-late 1960s as it transformed to a fashion with bright, swirling colors from the drainpipe jeans and capri pants that were so popular earlier in the decade.

I highly recommend this funny, engaging and uplifting production which is full of great comedy, song and dance and still memorable classic Broadway hits such as “Hey, Big Spender” delivered with real class throughout. 

“Sweet Charity” is being performed at Marriott Theatre through October 28th. Visit http://www.marriotttheatre.com for more show information and times.

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

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

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

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

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

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

Highly recommended.

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

When we think of traditional whodunits, we think of a carefully plotted murder, a list of suspects, and an inquisitive detective who gradually pieces new clues together until the crime is solved. Marriott Theatre’s “Murder for Two” is just that, albeit a musical-comedy that stars just two actors taking on 13 roles. How is that done exactly? With a lot of precision, spot on timing and with a special actor named Jason Grimm who bravely takes on the roles the twelve party goers (all suspects) as well as the victim.

When a surprise birthday party goes bad and Great American Novelist Arthur Whitney is murdered, small town cop Marcus Moscowicz decides to use his sleuthing skills to find the killer since the nearest detective is an hour away. Everyone in attendance of Whitney’s birthday party are suspects including Arthur’s wife, Dahlia, who relishes in the thought of being a “murderess”, prima ballerina, Barrette Lewis, renowned psychiatrist, Dr. Griff, Whitney’s niece, Stef, who is studying criminology in college, an elderly couple that bickers every chance they get and a handful of other interesting characters. Moscowicz wants badly to make detective and the clock is ticking, giving him less than an hour to solve the crime before he must turn the case over.

Noel Carey stars as Marcus and does a bang-up job as the eager detective-wannabe, perfectly complimenting Grimm as he goes from suspect to suspect – and back again. Both Carey and Grimm take turns playing the piano whether it be for a musical number or just ambience music.

Directed by Jeff Award Winner Scott Weinstein, “Murder for Two” is a fast-moving, suspenseful ride that offers big laughs in rapid-fire succession.

“This production provides a fantastic evening of murder mystery, zany comedy, and true virtuoso performances. There are only two performers that take on 13 roles throughout the entire 90 minutes, “says Weinstein. “They not only remain on the stage for the entire show, but one or both of them are also playing the piano throughout. Whether you are a fan of comedy, mystery, or anything in between, this production will have you begging for more.”

Weinstein couldn’t be more correct. Grimm’s ability to go from personality to personality without pause is nothing less than astonishing. The script is rich with humor and holds the perfect amount of suspense. The set's impressive revolving stage keeps all the action moving - literally.

“It is 90 minutes of nothing but silly,” Grimm says. “One character accidentally incriminates himself. One character, for attention, loves the idea that she is a suspect and basks in it.”

Joe Kinosian and Kellen Blair are the writers behind this exciting comedy and Carey and Grimm couldn’t be better cast (Carey has starred as Marcus in the musical’s national tour).

Highly recommended.

“Murder for Two is being performed at Marriott Theatre in Lincolnshire through August 26th. For tickets and/or more information visit www.MarriottTheatre.com.

Being a Chicagoan, it’s always fun to take in city history – to learn about the great things that made Chicago what it is today – one of the best known metropolitan areas on the planet, rich in history and tradition. In ‘Burnham’s Dream: The White City,' the play focuses on Daniel Burnham, a man who became an architect while learning on the job rather than with an education. Burnham, perhaps best known for authoring The Plan of Chicago in 1909, one of the most significant documents on urban planning, was one of the chief minds behind taking on the massive job of building the 1893 World’s Fair over what was then just a swamp-ridden Jackson Park. ‘Burnham’s Dream’ focuses on Burnham’s life throughout this miraculous endeavor.

Pavi Proczko is palpable as Daniel Burnham, giving us a good sense of the architect’s smarts, determination and dedication to the colossal project. Proczko provides an inner depth to the character that is easy for audience members to relate. Burnham’s business partner and long-time friend, John Root, is well-played by Sam Massey. Root, perhaps more of a big picture dreamer wants the fair to be all-encompassing, “a fair that is truly welcoming to everyone.” The two play off each other well; one the visionary the other making ideas a reality. Chase Wheaton-Werle also puts forth a strong performance as the likable Irish immigrant, Michael O’Malley while Genevieve Thiers impresses the audience with her vocal talent as Bertha Palmer. Jessica Texidor’s choreography is unique and gets the most out of its limited open stage.

Throughout the play, we get a myriad of 1893 World’s Fair fun facts such as learning that that is where the zipper and Cracker Jacks were first introduced, and that one of the many buildings was designed by a team of female architects (something unheard of at the time). We are also made privy to the fact that in order to complete the fair on time and to save a huge sum of money, the building’s exteriors were finished with staff plaster since atop steel frames, after all, the buildings were meant to be temporary. Though primarily dealing with the fair’s creation, it’s setbacks and triumphs, ‘Burnham’s Dream’ also provides a window into how women’s rights and those of African-Americans were dealt treated – Root certainly an advocate of inclusion, a stage for the world to see America’s advanced ideologies.

And while viewers might not go home humming the songs, the play in itself is interesting enough, moves along at a nice pace and is well-acted. For 1893 World’s Fair buffs, ‘Burnham’s Dream’ will be an entertaining way to watch it come to life piece-by-piece. For those who are not so familiar with the story, you’d be in store for an engaging Chicago history lesson.

Finely directed by Erik Wagner, Lost and Found Productions world premiere musical “Burnham’s Dream: The White City’ is being performed at Theater Wit through July 1st. For tickets and/or more play information, visit www.theaterwit.org.

It seems strange to me that after all my years of writing theater reviews I have never seen "Forever Plaid". I am now one of the lucky ones to have seen this marvelous production of the hit show written by Stuart Ross at Theater at The Center with this "over the top" talented cast.

"Forever Plaid" is a tribute to the early American boy bands, the quartets like The Four Freshman, The Four Seasons and The Four Aces.  During that period audiences were wowed by the smooth moves and exquisite harmonies of the singers. 

In “Forever Plaid,” we find four young men with big dreams of their own who are played to perfection - Sparky (Matt Edmonds), Leader Francis (Adam LaSalle), Smudge (Christopher Ratliff), and Jinx (Yando Lopez).

Unfortunately, on their climb to fame their young lives are cut short when they are all killed in a motor accident on their way to a gig (their car being hit by a school bus of girls on their way to see The Beatles) and end up "singing for the Angels" or in this case, for us, their 'one night only' earthly audience members. 

The talented cast come to harmonious life brilliantly in such memorable and romantic songs as “Three Coins in The Fountain”, “Moments to Remember”, “No Not Much”, “Catch A Falling Star” and “Love Is A Many Splendored Thing."

I don't want my arms around you, no, not much
I don't bless the day I found you, no, not much
I don't need you like the stars don't need the sky
I won't love you longer than the day I die
You don't please me when you squeeze me, no, not much
My heads the lightest from your very slightest touch
Baby, if you ever go, could I take it maybe so
Oh, but would I like it, no, not much

The really intriguing aspect of this entertaining production is the way it is directed by Brenda Didier who was previously a choreographer. Didier directs this fabulous foursome of voices in such a way that their every move, their every hand gesture or look, at the audience or each other is also interpreted by their bodies, hands and eyes.  The movement value that Didier adds to this show has a remarkable effect on the audience when each harmony, each word and each sentiment of these beautiful classic lyrics come back to life (pardon the pun) and demonstrate just how amazing these harmonies are and how complex musically the quartets must devote themselves to each note. It is absolutely hypnotic!  

The thing I really love about this story is that Stuart Ross allows the four young men in the show express a little bit of their sadness at having their lives and road to stardom cut short but then as they recall their memories of long days of rehearsing, carefully choosing a name and costumes, early gigs gone wrong and one performance for a real superstar at the time, they realize that they really did achieve something with their short semi-professional careers - something wonderful they would have missed if they had never tried. It is interesting and still meaningful to performers today who may perform their whole lives and never achieve fame or stardom that a chance encounter with one true celebrity star, ends up being the crown jewel in their memory bank of validation as singers.

Perry Como is passing through their town (by chance or destiny?) on the night of one their gigs and Sparky, played with incredible vocal range and perfect comic timing by Edmonds, steals a portion of Como's broken-down vehicle so that he can invite Perry Como to their gig that night. They sing "Catch a Falling Star" in honor of Perry Como and Perry is so impressed he gives them his "golden" monogrammed cardigan as a parting gift - which the four treasure and enshrine literally forever! 

Catch a falling star and put it in your pocket
Never let it fade away
Catch a falling star and put it in your pocket
Save it for a rainy day
For love may come and tap you on the shoulder some starless night
Just in case you feel you want to hold her
You'll have a pocketful of starlight

Edmonds, LaSalle, Ratliff and Lopez light up the stage as the plaid-obsessed Forever Plaid quartet with their impressive harmonies and a wealth of well-executed humor. The foursome performs in front of a three-piece band, really putting all the pieces in place for an all-around entertaining show.

I highly recommend this funny and cheerful gem of a show for anyone who enjoys hearing superbly delivered classic songs and appreciates well-timed humor. Didier's choreography brings fresh life to each classic and perfectly showcases in new detail the amazingly talented quartet assembled for this show. 

“Forever Plaid” is being performed at Theater at the Center in Munster, Indiana through June 3rd. To purchase the revue’s very reasonable tickets at $42-$46 or to find out more show information visit www.theateratthecenter.com.

It’s been three days since seeing Jesus Christ Superstar at Lyric Opera’s Civic Center and I still find myself going from character to character in the kitchen, in the car, while I’m working, while doing chores around the house and, moments ago, in the elevator. I may not be able to hit the brassy baritone notes sang by Cavin Cornwall as Caiaphas (or any of the character’s notes for that matter) but I give it my best shot because it’s just one of those shows – the songs stick – as they should. After all, we are talking about what many consider Andrew Lloyd Weber’s greatest work and perhaps one of the most masterful musicals of our time. We are talking about a musical that does not have a single weak number.

Having seen several variations of Jesus Christ Superstar from it’s very early runs in the 1970’s with Ted Neeley, many as he aged (the last while in his mid-sixties), and with a handful with others in the role of Jesus, Lyric Opera’s stage adaptation stays true to form – and then some. Cast members donned in hoods spread out across the main floor of the theatre before running to the stage during the opening overture. The set and costumes take us to a somewhat post-apocalyptic era, and though unnecessary as the musical is ever so effective taking place in biblical times, we still get the point.

With clever and ever-so-fitting lyrics by Tim Rice and an unbeatable soundtrack by Lloyd Weber, Jesus Christ Superstar takes us through Jesus’ rise in popularity as the promised messiah for his people over his last days. At the same time the pharisees show alarm and fear as Jesus is as a threat to their teachings – a threat that must be destroyed. While taking us through the last supper and eventually the crucifixion, the musical closely examines the love/hate relationship between Jesus and Judas, and the inner conflicts had by the latter. We also get a look at Rice and Weber’s perception of Mary Magdalene’s bond with Jesus, as she takes on a motherly approach in “Everything’s Alright” and that of almost a confused lover in “I Don’t Know How to Love Him”.

Jo Lampert as Mary Magdalene soothes Jesus (Heath Saunders)

Over eighty artists take the stage to perform with the thirty-seven musicians strategically placed in plain view on the set. The talent in this production is nothing short of spectacular, the choreography original and fun, particularly in that of the pharisees in the number “This Jesus Must Die,” adding a unique element of menace. The standouts in this show are many. Ryan Shaw delivers big as Judas holding true to the role’s intention immediately impressing from his opening number “Heaven on Their Minds” while Jo Lampert as Mary Magdalene shows great vocal command as she goes from gentle and soothing to prevailing power.

Ted Neeley who portrayed Jesus in the 1973 film, touring the role prior and still doing so to this day, along with Deep Purple’s Ian Gillan who was the voice of Jesus on the original album recording, set a precedent that, if not met, can lead to disappointment by the production’s most loyal fans. Gillan and Neeley set the bar high. The two were so successful in adding a rock and roll element to Jesus - screams and all - so that many in the role to follow were doomed to fail. This is not the case in Lyric’s current production. Heath Saunders exemplifies what the Jesus Christ Superstar loyal want to see in the role of Jesus. Diehards of the production call for a rock and roll Jesus and Saunders gives them just that. While stunning the crowd with his wide vocal range and hitting the highs where we’ve come to expect the highs, Saunders also gives us a Jesus who is sensitive, caring and embodies that of a teacher.

After tearing it up as Judas in Paramount’s 2017 production of Jesus Christ Superstar and taking on an ensemble role in the recent NBC televised special, Mikal Kilgore returns to the classic musical, this time as Simon Zealotes. Kilgore again puts forth an untouched performance, only leaving the audience with the regret his lead numbers are limited. Michael Cunio as Pilate Shaun Fleming as Herod are equally impressive as they pass the buck on who will be responsible for Jesus punishment that is called for by the people. Rounding out the sensational cast are Joseph Anthony Byrd as Annas and Cavin Cornwall as Caiaphas whose performances as the sinister pharisees are also on point.

Shaun Fleming as Herod

Jesus Christ Superstar is one of the great modern-day musicals and Lyric Opera of Chicago is one of Chicago’s premiere venues. Their pairing makes a lot of sense. Lyric spares no expenses presenting an all-around magnificent cast, a collection of Chicago’s finest musicians, superb direction and choreography and a set and lighting design that includes a 37-foot cross illuminated with 101 lights and seven full-sized trees that stand in the background overlooking all the action.

Categorically recommended.

Jesus Christ Superstar is being performed at Lyric Opera of Chicago through May 20th. For tickets and/or more show information, visit www.lyricopera.org.

I am constantly amazed as the way directors use the intimate, theater in the round, at The Marriott Lincolnshire Theatre and this exuberant production of “Oklahoma!” celebrating the 75th Anniversary of the classic Rogers and Hammerstein musical is no exception. 

As soon as the dancing begins, this production shows that indeed the entire show of “Oklahoma!” with magnificent, definitive songs like "Oh what a Beautiful Morning" and "People Will say We're in Love,” was meant to be a ballet. This especially rings true during the memorable ballet sequence at the end of Act I which featured tow amazing dancers Benita Bünger (Dream Laurey), Lucas Segovia (Dream Curly) and Alejandro Fonseca (Dream Jud).

It’s farmers against cowboys in this late 19th century musical adventure that follows two love stories. Curly McClain, a cowboy, wants desperately for Laurey Williams to love him, but her stubbornness has her taking her family’s farmhand, Jud Fry, to the big dance instead – and Jud has some serious issues. Laurey’s Aunt Eller can’t understand why her niece is so reluctant to give Curly a chance and has big reservations when Jud gets involved. At the same time, cowboy Will Parker is in love with Ado Annie Carnes and will do whatever it takes to win her over. However, Ado Annie also has eyes for a Persian peddler, Ali Hakim.

The classic western takes a few turns and includes some bumps in the road for the main characters while unfolding into the direction of what becomes a most memorable ending. “Oklahoma!” is an entertaining story that has a bit of everything – jealousy, love, romance, humor and heroes. But in this stage adaptation, it’s the fantastic dance numbers that impress the most.

The dance sequences so beautifully choreographed by Alex Sanchez (and there are many by the entire cast) are some of the best and most exciting dance numbers I've seen in recent musicals. Each number make use of every aisle and every inch of the stage from opening number to rousing finale.

Brandon Springman is mesmerizing in the lead role as Curly while Jennie Sophia plays his romantic interest, Laurey, with great intelligence and romance. Both have really wonderful voices that are accompanied by thoughtful, realistic acting choices that make you fall in love with this couple and understand why they both let their headstrong pride get in the way of what is obvious to everyone else in town as a love affair that is meant to be. Shea Coffman is very strong as Jud Fry and can be flat out frightening at times while Michelle Lauto really gets to show off her gifted voice as Ado Annie. The talent goes on and on as Evan Tyrone Martin is very funny and likeable as Ali Hakim and Aaron Umsted steals several scenes with his electrifying dancing prowess as Will Parker.

There is also a modern-day relevance that pops out at the audience when Laurey complains to her Aunt Eller (played with great wry humor by Susan Moniz) that Jud, the moody, porn-obsessed, farmhand is staring her down at breakfast every day and generally scaring her when her aunt replies that she is being too sensitive and should ignore him. But Judd's behavior is pure sexual harassment by a man with mental health issues who is not only capable of violence and in the cathartic last scene, acts out with both sexual violence against Laurie and a murder attempt towards her beau Curly.

The entire cast is full of rich singing voices and the sing-along at the end of the show to the title song "Oklahoma!" really sums up the lively spirit of this beautifully sung, acted, and danced production of a classic. 

I highly recommend this fast paced but satisfying and exciting production for all members of your family to experience the magic and wonder of one of Rodgers and Hammerstein’s great American works. 

“Oklahoma!” runs through June 10th at the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL 60069. Tickets are available at marriotttheatre.com or 847-634-0200.

If you are a passionate fan of the original "Phantom of the Opera" musical, its sequel "Love Never Dies" will surely peak your curiosity and is a 'must see'.

The continuation to one of the greatest love stories of our time takes place in 1907, ten years later after the Paris Opera House fire. The Phantom fled at that time, escaping tragedy, but not before releasing Christine and Raoul, so moved by his love for her. Christine now resurfaces after receiving an invitation to travel from Paris to make her singing debut in New York and the Phantom is determined to win back her love. After so many years have gone by, we finally see a life changing reunion between the Phantom, Christine and other ghosts from the past.

Magnificently directed by Simon Phillips, the stunning musical includes a new set and costume designs by Gabriela Tylesova, choreography by 2011 Astaire Awards winner Graeme Murphy, lighting design by Nick Schlieper and sound design by Mick Potter. Together they produce what can be described no less than an enchanting theatre experience that is as haunting as it is seductive.

A handful of characters return from the first musical, including the Phantom portrayed with fierceness by Cardar Thor Cortes who was born in Iceland and is making his debut in the United States in this performance. Cardar Thor Cortes comes directly off the heels of a successful run of Love Never Dies in Hamburg, Germany. Christine is beautifully acted by Chicago native Meghan Picerno. The music and lyrics created by Andrew-Lloyd-Webber and Glenn Slater seem personally written for these two amazing singers who held the audience in awe.  Other return characters were Raoul (Sean Thompson), Madame Giry (Karen Mason) and Meg Giry (Mary Patterson).

The musical number impress one after another and are in many ways as powerful than those in the original “Phantom”. "Once Upon Another Time" will touch your heart while offering meaning to the story line of this play. Meghan Picerno, (Christine) and Gardar Cortes mesmerize the audience singing beautifully together, their words enhanced by every powerful note. "Love Never Dies", without question reveals Meghan's emotionally charged and extremely talented voice.  

Applause, applause and more applause...

“I have the great joy of being able to say that I think this production is probably the finest one I could ever, ever hope for,” said Andrew Lloyd Webber just minutes after seeing the musical’s first run through.

One of the play’s nice surprises was 13-year-old Casey Lyons native of Lake Forest who was a joy to watch sing and perform. Casey is a natural and has a wonderful gift of song.  

The Coney Island atmosphere freed the stage up to every kind of performer singing and dancing together to present a mystical, delightful and creative wonderland. The fluid stage changes were excellently done and the orchestra gets an A-plus in every way.

Not to give the plot away, I can say the story line is unique, a little unexpected, and keeps you wondering until the very end. "Love Never Dies" is well worth attending.  

“Love Never Dies” has a running time of two hours and twenty-five minutes with one intermission and is being performed at Cadillac Palace Theatre through March 4th. For tickets and/or more show information, visit www.BroadwayInChicago.com.

Marriott Theatre’s Ragtime might just be one of the best adaptations to make its way through the Greater Chicago Area - ever. E.L. Dotorow wrote the novel in 1975, which has stormed theatre stages since 1996, snagging thirteen Tony Awards in 1996.

With lyrics by Lynn Ahrens, music by Stephen Flaherty and a book by Terrence McNally, the highly-acclaimed musical follows three very dissimilar families beginning in 1906 New York. One family is a white, advantaged and wealthy, one consists of an immigrant Jewish father and his young daughter while the other is a young African-American couple following the birth of their new child. Throughout the story, the families become intertwined with each other as the story paints a vivid picture of privilege versus the struggles of those less fortunate. Ragtime is a moving story of hard times, prejudices and the will to survive by those who have been dealt a much tougher hand in life and also the understanding – and lack of understanding – that is had by those more prosperous. It is also the ultimate story of determination.

Beautifully directed by Nick Bowling, the story includes several colorful characters that really make a strong impact such as Tateh, the Jewish immigrant from Latvia, played impeccably with much intensity by Benjamin Magnusun. Tateh, a portrait artist, is inspired to succeed in America after watching the great Harry Houdini (Alexander Aguilar), another immigrant, make his rise to fame. Marriott Theatre veteran and actor/singer extraordinaire Nathanial Stampley once again rises to the challenge this time as Colehouse Walker Jr. the show’s champion and pioneer of “ragtime” piano-driven music. Katherine Thomas compliments Stampley well as Walker’s fiancé, Sarah, her role as powerful as any in the story that holds such a political relevance in today’s current state.

Ragtime was a long time coming for Marriott and this staging is well-worth the wait. Bowling decides to change the play’s ending, a decision for audience members to take home and ponder.

Chicago favorites Larry Adams and James Earl Jones II this time find themselves leading a highly gifted ensemble, adding even more punch to this influential musical. Brilliant performances run rampant in this production with riveting work from Jonathan Butler-Duplessis as Booker T. Washington and Kirsten Hodgens, known only as “Sarah’s Friend” in the program. Hodgens has show-stopping vocals that are certainly highlighted in this production.

With a running time of two hours and forty minutes, the production’s high engagement level from beginning to end without lull is testament to its quality. For those who have seen the musical before, just seeing it from another perspective, that of its in-the-round staging, is entertaining in itself. With spot on costume and set design, moving musical numbers and tremendous acting and vocal efforts, Marriott’s Ragtime should be in line for a Jeff Award nomination.

Highly recommended - a perfect piece of musical theatre.

Ragtime is being performed at Marriott Theatre through March 18th. For tickets and/or more show information visit www.marriotttheatre.com.