How long will it be to tear down the wall? Many of you Pink Floyd fans out there would know exactly what I’m talking about. Being a Pink Floyd fan for years, I decided to check out another one of those Pink Floyd tribute acts called Echoes of Pompeii, a band from Indiana. Now if you’ve read my past reviews, you would notice I reviewed another Pink Floyd tribute act called The Pink Floyd Experience. I called them one of the best I’ve seen next to The Australian Pink Floyd Show. But to be honest with you, Echoes of Pompeii blew all these groups out of the water. Not just because they sounded just like the group, but they had a spectacular light show along with it. That’s what I think sets this group apart from the rest of them.

The show took place at the beautiful Arcada Theatre in St. Charles. The theatre, run by owner Ron Onesti, seemed like it used to be an old movie theatre, but when concerts are performed there, it looks totally different. EOP stated the set with a brooding cover of “Welcome to the Machine.” Led by lead singer Jason Andrews, with twin brother Jeremy Andrews on bass guitar and vocals, together they sounded great in harmony. Along with keyboardist/backup vocalist Rob Martinez and lead guitarist/vocalist Andy Hescher, these guys had it down pat. They next went into the whole “Dark side of the Moon”, but scattered the songs through the night. With the help of 3 nice female backup singers, Betsy, Melissa, and Nanette, the harmonies sounded a lot fuller. Especially, with Nanette, one of the backup singers, singing “Great Gig in the Sky,” she belted at the top of her lungs. The guys then played one of my favorite Pink Floyd songs, “Dogs” from the Animals album, then right into “Hey You.” All the chosen songs were played to perfection.

Along with the great songs, the guys put on an incredible light show complete with lasers. One thing that was a drawback, though, was that the guys stopped after each song, like they were a bar band just playing for fun. But that’s the thing I found out about these guys, is that they play for fun. They play as a Pink Floyd cover band on the side. Regularly, they play as a bar band. Now, I think that’s pretty cool, because it only makes you more versatile.

EOP were even playing some deep tracks by Floyd that many tribute bands choose not to do, including, “Vera,” “Bring the Boys Back Home,” and “One Slip.” The one player in the band who was the highlight of the night was Bob Frankich on saxophone. He played that saxophone like no one I've ever seen. Even adding sax into songs that didn't even have sax in it.

Mostly, it was a very enjoyable concert. Kudos to this group. Though, I have to leave one criticism, and that's to let the music flow into each other. Just an opinion. But overall, nice job guys!

It was a night of the showmen at Ravinia Thursday night with the headliner being the legendary Robert Plant, and opening for him, a Chicago-based group called JC Brooks and the Uptown Sound. Brooks and the Uptown Sound are a funk and R&B group, whose music sounds like the early days. Brooks channels Otis Redding with his vocals and moves onstage. The band had a hit single with a cover of the Wilco song “I Am Trying to Break Your Heart.” The band was able to warm up the crowd so easily, getting them ready for the main act of the night. But the thing that's really enjoyable is watching them have fun while they were performing.

Robert Plant is considered one of the golden voices of rock, being the lead vocalist for Led Zeppelin.. After many years in the business, the man still has it. Thursday night Robert Plant headlined at Ravinia in Highland Park. Together with his Band of Joy, which consists of singer Patti Griffin, singer-guitarist Buddy Miller, multi-instrumentalist and vocalist Darrell Scott, bassist-vocalist Byron House, and drummer-percussionist-vocalist Marco Giovino. Together they sounded great. I was kind of hesitant going into the concert, wondering what Plant was going to be singing. He played a lot of his solo stuff, which to be honest can be kind of boring. It's more roots rock. But as soon as Plant started singing early Led Zeppelin songs, the crowd went crazy!

He started with “Gallow's Pole,” followed by a very unique version of “Black Dog,” harmonizing with Griffin. Then he went into “What is and What Should Never Be.” Plant loved to have fun with the audience throughout the night, making little comments here and there. Other Zeppelin songs that were played include “Rock and Roll” and “Ramble On.” He also played music from his first solo album, Band of Joy, and Mighty ReArranger. Even though the solo stuff was a little slow for me, the man still has the looks, the moves and the voice especially for being in his 60s. By far, one of the coolest experiences to see Robert Plant singing Led Zeppelin. Overall, the concert was alright, but the Zeppelin songs were well worth the wait!

As The thunderstorm rolls through to Lord Rancour’s mansion, all the guests disappear unexpectedly one by one. But did the butler do it? “Something’s Afoot,” a campy, delightful musical comedy, running at Citadel Theatre Company in Lake Forest, tells the story of 10 dinner guests, who disappear one by one. But no one knows who murdered who!

Brilliantly directed by director Wayne Mell, he allows the characters to let loose and have fun with it. Talking with Mell, he told me, “This is the first show we’re doing in a new space. We used to be in a basement of a church. But with a show like this, we needed a much bigger space.”  Tightly choreographed by Marianne Brown and wonderful music direction by Nick Sula, the show was fun to watch.

Set in 1935, the show reminded me a lot of “Clue” meets “Monty Python’s Flying Circus.” The cast blended tightly on such ensemble numbers as “Something’s Afoot,” “Suspicious,” and “Carry On.” Every actor was cast perfectly in their role including Debra Criche Mell (Miss Tweed), Dennis Murphy (Clive), and Kaitlyn Andrulis (Lettie).

The comedy relief came from Mario Mazetti, who played Lord Rancour’s nephew Nigel, and from the clumsy handyman Flint, played by Edward Kuffert. Sarah Breidenbach sounded beautiful as the naïve, but sweet Hope Langdon. Her song “You Fell Out of the Sky” was fantastic. Along with her lover Geoffrey (Christopher Davis), the two highlighted the show with their duets together.

Other great highlights of the show were Flint and Lettie’s hilarious duet “(Tiny Little) Dingy.” Other notable performances were from Ellen Phelps as Lady Grace Manley-Prowe, and Andrew J. Pond as the hysterical Col. Gillweather.

Walking into this theatre, I didn’t know what I was going to expect, but as I looked at the gorgeous set that made you feel like you were in a mansion, and the amazing special effects brought the house to life. I definitely recommend this show for anyone that loves British humor, and loves a great comedic farce. This truly lives up to that.

‘Something’s Afoot’

Citadel Theatre Company, West campus of Lake Forest High School, 300 S. Waukegan Road, Lake Forest. 8 p.m. Thursdays, Fridays, and Saturdays, 2 p.m. Sundays with one Wednesday matinee at 1 p.m. May 18, through June 5

$35/$32 for students and seniors.

(847) 735-8554 or visit www.citadeltheatre.org.

You might know Alicia Witt from her body of work as an actor on shows including Friday Night Lights, Law and Order and Cybill, and from the films 88 Minutes, Two Weeks Notice, Last Holiday and Mr Hollands Opus to name a few. But she is also a classically trained pianist and accomplished singer/songwriter. for the last 3 years, she's been performing her original songs at venues across the country such as Hotel Cafe and Universal Citywalk in Los Angeles, and Joe's Cafe and The Living Room in New York. She will be performing May 29th at SPACE in Evanston. Ticket information below.

Her self-titled first EP is out on iTunes. Alicia's first music video, for the single 'Anyway', was played on MTVu and VH1.com. She also appeared as musical guest on the Late Late Show with Craig Ferguson in summer 2010, and is currently working on her next album.

“...what a voice. It comes from tender, intimate appeals, soaring to roof raising heights, as she all the while works the piano with ease and command...where Witt really excels is in her ballads, personal and universal poems of love, longing, and everyday girl issues. Her lyrics flow with a poetic polish, and her piano playing rivals that of rockers Billy Joel or Elton John.” - What Duvet Said, review, 12/09

To help raise awareness for Art of Elysium, Living Philanthropic will donate $1 and TicketWeb will match every $1 donation for every ticket sold for Alicia Witt’s performance to Art of Elysium. If you would like to participate and join the Living Philanthropic team or make a donation, please visit: http://www.crowdrise.com/lp-may

The show starts at 8PM - $12 in advance // $15 day-of // $20 reserved table seating (Links to purchase tickets) To hear more of Alicia Witt’s music, visit her at myspace.com/aliciawittmusic

(Source: www.evanstonspace.com)

I recently sat down and talked with Alicia about life on screen and off.

Buzz:   Where did you grow up?

Alicia:  I was born in Wooster, MA. But, I basically moved to LA when I was 14. So, I kind of feel like I grew up in LA. That's where all my formative experiences were.

Buzz:   What made you go into acting?

Alicia:  Well, I sort of accidentally became a part of Dune, which was my first movie, and I was 7 when that happened. If that hadn't come along, I'm not sure I would've become an actor. I think it was something I always wanted to do even when I was little. I just didn't know what it was called, if that makes sense. I loved watching old movies and reenacting the scenes. I would just pretend I was Julie Andrews, or, you know, those great women. It didn't really occur to me you could do that for a living. I ended up being asked to come to New York to audition for David Lynch. It was an incredible experience. Especially, because it was the biggest movie of that time, with all the special effects, and wardrobe. And all these very well established respected actors that have been doing this their entire lives, and making a living at it. And I think, not only for me, but for my parents, that was a big thing, because they always supported me in wanting to do this for a living. And I felt like that being such a great experience had a lot to do with that. Like my dad chatting with Jose Ferrer and that kind of thing. They were the best examples of what actors should be.  And David is the nicest director. Literally, now that I've been doing this for most of my life, I look back and think how lucky I was that he was the first director that I got to work with. He's really such a good example.

Buzz:   What was your favorite movie that you've done?

Alicia:  It's so hard to pick one. I think one of my favorites is definitely The Boarding House, which hasn't come out yet. I've seen a little bit of it, and I really love it. What little I've seen. It's still being edited. It's with Nick Stahl. It's a very awkward love story between these people that are both a little stuck in their lives, and both really sheltered for different reasons. And they both want this, but don't quite know how to make it happen. It's just very complicated and very simple at the same time.

Buzz:   Which movie that you've done means the most to you?

Alicia:  That's again so hard to pick. Making 88 Minutes was an incredible experience, because I got to work with Al Pacino. I definitely put a lot into that movie. There were quite a few re-shoots on that. I had a great time making it though. It was amazing to watch. I mean Al put so much into it too. To say he's one of the greatest actors ever is just an understatement. And it was also hugely inspiring to get to work with him and to come away from the experience liking him even more than I had before, because he's such a good guy, and such a pleasure to be around. I felt very grateful to have gotten to know him. Another one of my favorites was Playing Mona Lisa. That one stands out for me because it was the closest to myself that a role has ever been in so many ways. Just everything I was going through at that time in my life. It was like the movie just reflected all of it, and it was a really tight-knit cast. It sparked lasting friendships for years afterward. It was shot in San Francisco, and I was going through a break-up at the time. But it was a good thing. The next chapter of my life was beginning. It was just one of those incredible experiences, and I got to play the piano in it. It was just really special.

Buzz:   What made you transition from acting to songwriter?

Alicia:  I've always wanted to do this. So, it's not so much a transition as it is finally, all of these years wanting to do it just culminated, going from it being a wish to being reality. It wasn't something I could have done any sooner, I just wasn't ready yet. For me, I always dabbled in it. I always wrote songs here and there. I sort of made a go at it around the time of Playing Mona Lisa actually. I met a few people who listened to my songs and saw some potential there, and did a little bit of work on it. But I just wasn't ready yet. I didn't think they were very good, and I think there was something there, but i wasn't very prolific at it. I wasn't inspired. Then I just got discouraged. I didn't really focus on it again until about four years ago. That's when it really started happening again. This time I found myself writing songs like once a week. Then suddenly I had a bunch of songs, and some of them I thought were pretty good. I was sitting in my living room with my best friend, after a girls night in, and I mentioned to her I was writing a few songs and she asked me to play them for her, and I did. I'll never forget how she just sat there in that chair and said, “You need to play these somewhere other than your living room.” It made me wanna cry. I thought, well, I always wanted to, so I started doing really small things. I played with other people, like I'd get up at someone else's show and do one song, and I would be so nervous. Then I started writing with some other people as well, and the more I did, the more people I met. I just started building this network of friends, who were amazing musicians and songwriters, and people who ran venues. Just, it all came together, and the more I did it, the more songs there were. It ran to the point where I can't stop writing, and at this moment, I have so many unfinished sets of lyrics in my blackberry at any given time. I just finished another song last night. I have a lot of demos laying around the house. I need to do full studio versions of them. I just gotta find the right ones to put on the next album. But you'll get to hear a lot of stuff you haven't heard before at the show.

Buzz:   Who are your musical influences?

Alicia:  I love Billy Joel and Elton John. Probably my biggest influences. I also love Sara Bareilles and Pink. I love Shawn Colvin also. Whenever I do songs that are written on the guitar, I think of her stuff. I just think she's amazing. I love Ben Folds also. I love Rufus Wainwright as well. Those are some of them. There's so many really. There's a lot of bands I like. There's a band called Everybody Else, they're an LA-based band. And I recently met the lead singer, and co-writer on a lot of those songs, and I think we're gonna write something together, but I really enjoyed their music. I like a lot of Train's stuff too. I also love Five for Fighting. I am obsessed with Tom Waits.

Buzz:   What do you like to write about in your music?

Alicia:  So many things. There's sort of no boundaries. The song I wrote last night, for example was definitely inspired by a feeling I had, because I spoke with someone I haven't spoken to in at least a year or so. It was one of those odd things where we took a break from each other. Then we ended up talking for over an hour on the phone, and we had a nice conversation. The thing is almost an imagined thing. It's interesting. I have this idea that's floating around in my head. It's called “Is This What You Meant.” It's not about me or this person. It's about someone that walks away from another person. Then really regretting it. The song is basically saying, is this what you meant? It wasn't about the scenario that I was going through. It's almost like a “what if” idea that I ran with, about someone who's feeling really lonely, and regrets pushing someone out of their life. When I wrote the song “Blinds,” the lyrics were inspired by the end of my relationship that I was in, which was really about the time I started writing prolifically. That was just about the feeling that I knew it had to end. I was in this relationship for a long time. I'd known for quite a while. The thing was nothing was wrong. It just wasn't right. I came up with this explanation which was I had gone blind to him, because he was still as lovely as he had ever been. I wasn't seeing him anymore. The songwriting began after he moved out. I wrote a love song that's about the ultimate love. When you've had so many relationships, you get to a point where you finally meet somebody that you know you're gonna have the most meaningful  relationship with before saying “I love you.”

Buzz:   What message to hope people will take from listening to your music?

Alicia:  Whatever message they want. I hope that if I can inspire people half as much as some of the great artists I've been inspired by, that have inspired me, then that would be incredible. Somebody, after one of my shows, said to me, that my music made her feel less lonely, and I though that was the most perfect thing to wish for, and the biggest compliment of all. The kinds of songs I strive to write are ones that can be interpreted however you want, and they don't have to mean what I meant when I wrote them. In fact, for me, when I play them, they don't mean what I meant when I wrote them.

Filled with anger, love, confusion, despair, and what makes you happy, Spring Awakening goes through all that. With music by Duncan Sheik and book and lyrics by Steven Sater, this rock musical is an adaptation of the controversial 1891 German play by Frank Wedekind. The play deals with teenagers in Germany discovering their sexuality. The original play was banned in Germany due to its portrayal of abortion, homosexuality, rape, child abuse and suicide.

First of all, one thing that bothered me going into the theatre with this show is it’s not as intimate as it is on Broadway. Spring Awakening was meant for a small theatre to add the intimacy for the audience to appreciate with this show, and the Cadillac Palace didn’t really do it. One thing I did like was that the audience can sit on both sides of the stage during the show. I thought that’s really cool, since you can see everything up close, and feel like you’re in the show. The set design was really cool and the lighting as well. The band, though, really rocked it under the music direction of Casey RT Graham.

The story is about teenagers discovering their sexuality. The character of Melchior, played by Christopher Wood, I felt was very weak. I didn’t feel he had the energy and the passion that Melchior should have. Coby Getzug, who played Moritz was phenomenal. He was actually my favorite person in the show. Moritz is confused about his feelings and doesn’t understand them, so he goes crazy, and tries to kill himself. Elizabeth Good was a great Wendla, as was Courtney Markowitz who was a nice Ilse. Other notable performances were from Devon Stone (who played Hanschen) and Daniel Plimpton (Ernst).

There were a couple things that I liked about this show having never seen it or read the story. I liked the characters, especially the relationship between Melchior and Moritz, and Melchior and Wendla. There were a couple scenes, though, that were rough to watch, like Wendla asking Melchior to beat her, both of them simulating sex on stage, and Hanschen’s onstage masturbation scene. By the events going on in this show, this is not one to bring your children to. I would recommend 17 years and up, because of the subject matter, it can be a little rough.

The love story of Melchior and Wendla is a bit odd, along with the character relationships with the adults, and the mixed emotions between the male students and the immature adolescent behavior. Though when Wendla asks her mother how babies are made, the mother hesitates and can’t tell her. Well that’s stupid to do, knowing she could get pregnant and have an abortion. The parents should have been more aware of their children’s activities and behaviors.

Spring Awakening is a great show overall. The music and lyrics are fantastic. If you think you can take the material, definitely see it. If not, then this is not the show for you. If this show was in another theatre, I think it would be a lot for enjoyable. But for what it was, it was a good show.

If it’s one thing to appreciate in this world, it would be Sondheim. Stephen Sondheim has written some of the best scores in musical theatre. From his countless melodies to the beautiful lyrics, A Little Night Music has grown to be one of my favorites of his that he’s written. Based on Ingmar Bergman’s film “Smiles of a Summer Night,” the story is about love, liaisons, and where your true passion lies.

Having this been my first show I’ve seen with Circle Theatre and in their new performing space, the show was such a great experience. Bob knuth’s direction was fantastic, making the show’s mood mellow at points, but hard on the edges where they should be. Kevin Bellie’s marvelous choreography shines through the performers. Mostly, with all the waltzing that’s done in this show, I can only imagine how dizzy it might get. The beautiful white set was designed by Bob Knuth as well. Wow, I can only imagine how crazy it must be to design the set AND direct the show. Either way, the direction was very well-on for this production.  The lights flowed softly onto the set. The orchestra, musically directed by Josh Walker, sounded beautiful. They really sounded perfect with the actors. Especially since the music in this show is very tricky, because all the music in this show is in waltz time.

It starts with Fredrik (played by Kirk Swenk), an older gentleman, who marries Ann (played by Stephanie Stockstill), who’s a lot younger than him. Meanwhile we have Henrik (played very strong and powerful by Patrick Tierney), who is their son, and who’s in love with Ann. We have the maid, played brilliantly by Khaki Pixley (who sang a great version of “The Miller’s Son”). Then, of course, there’s Desiree and Madame Armfeldt (played by Anita Hoffman and Patti Roeder; both played flawlessly), the actress, who Fredrik is infatuated with, and her mother.

Now when I saw the show, Kevin Bellie came out before the show and made an announcement saying one of the performers was sick, and if anyone had a problem with the performance, they can get a full refund. I appreciate a theatre that would do that, especially since in some performances, there are no understudies, like this one. Well, the actress who was sick was Desiree. Now her acting was wonderful, but when she sang, you can tell something was up. But that didn’t bother me at all. Her rendition of “Send in the Clowns” had me in tears. Another great number was “Weekend in the Country.”

Other great notable performances came from Jeremy Rill (playing a fantastic powering Carl-Magnus) and Deanna Boyd (playing a funny, yet, strong-minded Charlotte). Rounding out the great performances were the Lieberslieder Singers (Kristine Burdi, Elizabeth Hope Morgan, Anna Hickey, Matt Edmonds, and Jonathan Landvick), who narrated the story. Each singer represents a character in the show, and they do a wonderful job painting the story for you.

Overall, A Little Night Music is a brilliant piece of theatre, and Circle Theatre does a great job of interpreting it! Although, the show can be long, it’s well worth it. Props to Bob Knuth, Kevin Bellie, Josh Walker and the cast and crew for putting on a beautiful production!

Location:   1010 Madison Street in Oak Park

Runs:   April 29-June 5, 2011 Fridays and Saturdays at 8pm & Sundays at 3pm.

Tickets:   All seats $22; Sat/Sun: $26 for adults, $24 for students/seniors;

Group rates are available.

For more information or to order tickets visit www.circle-theatre.org or call 708-660-9540.

From the director of Rent comes the most talked about new show on Broadway, NEXT TO NORMAL, winner of the 2010 Pulitzer Prize for Drama and three 2009 Tony Awards including Best Score. Alice Ripley who received the 2009 Tony Award for Best Actress in a Musical, will reprise her acclaimed performance in Chicago. Having been chosen as "one of the year's ten best" by major critics around the country, NEXT TO NORMAL is an emotional powerhouse of a musical with a thrilling contemporary score about a family trying to take care of themselves and each other. The New York Times calls NEXT TO NORMAL "a brave, breathtaking musical. A work of muscular grace and power. It is much more than a feel-good musical; it is a feel-everything musical." Rolling Stone raves, "It is the best musical of the season by a mile. It'll pin you to your seat."

Source: www.broadwayinchicago.com

Jeremy Kushnier plays the role of Dr. Fine/Dr. Madden in the show, who helps Alice Ripley's character with her problems and medications. The doctor plays a key role in this show, as the subject matter is about mental illness. Jeremy has played many great roles on Broadway including Ren in the Original Broadway Cast of Footloose, Roger in RENT, and appeared in the Original Canadian cast of The Who's Tommy. I recently spoke with him about how he feels playing such a key role in a great show.

Buzz:   What made you want to go into acting?

Jeremy: Well, when I was a kid, I used to just goof around a lot. I was lucky when I was growing up. There was a lot of opportunities for young kids for summer theater and regional theater and that kind of stuff. I just started doing it. It was just something to do. I played a lot of sports, and I was in the band, and in the choir, and it was just another thing to do.

Buzz:   How did you get started in Footloose?

Jeremy: I actually was living in Toronto. I'm Canadian originally. I got a phone call from my agent telling me if you could be in New York by tomorrow, you can audition for this new show. So I scrounged some money together, got on a 12 hour bus, auditioned, and got the job. It was a blast, because it was my first lead role in a brand new show. It was very exciting. I was very blessed.

Buzz: Now that you're in Next to Normal, what do you think people should take from the show after seeing it?

Jeremy: I think they're gonna take whatever they want. I think it's such an interesting piece. It definitely starts conversations about the mental illness, the treatments, people dealing with loss. It definitely is a conversation starter. And I think if doesn't anything but make people stop and think, I think it's great.

Buzz:   What was your favorite show you've ever done and why?

Jeremy: That's tough. Every show I have is a favorite for a reason. Footloose was probably my biggest favorites because it was my first big gig, as far as me moving to New York. I loved doing The Who's Tommy. It was my first big professional mega musical when I was living in Toronto with the Canadian company. Then I did RENT, which was also really special to me because I did that show off and on for over 8 years playing Roger.

Buzz:   What made you interested in Next to Normal?

Jeremy: I mean, first off, it's a job. It's really exciting to be involved in a Pulitzer prize winning piece that's brand new. And having such a small cast. The music is really phenomenal. I have been a big fan of Tom Kitt's for a long time. And there's so many reasons. Getting to work with Michael Greiff again. There are a lot more reasons than not to as far as getting together trying to get with the show. It's been a really cool experience.

Buzz:   What do you take from each role you perform, and how does it affect you as an actor?

Jeremy: Well, I think there's a piece you take with you, and there's a piece that you leave. I believe a little bit more than what I take with me, because with a show like this, it becomes too hard. You don't wanna carry around this stuff with you all the time. There's definitely something that stays with you after you do any of these kind of pieces. Shows like RENT and shows like this. It's hard, but you can take the hope from this.

Buzz:   What message do you take from this show personally?

Jeremy: I think there's a great message of hope. There's a great line in the show that's, “You don't have to be happy to be happy you're alive.” I think it's a pretty deep message, to realize how precious what we have is. Regardless of how glad we are in the moment. I think that's something important to remember.

If you love classic dance musicals from the 30s, then you will love Marriott's new production of 42^nd Street! The cast was wonderful. Now, I personally, have never been a fan of this show until now. After seeing this show, I loved it! The show is directed by Jeff Award winner Rachel Rockwell, with beautiful costumes by Nancy Missimi, unbelievable choreography by Tammy Mader, and Doug Peck's fantastic musical direction.

The show, about a tap-heavy cast getting ready to open their show, “Pretty Lady,” directed by the moody but brilliant director Julian Marsh (played fiercely by Tom Galantich), who starts to see new beginnings for his show when Peggy Sawyer (Kaitlyn Davidson, who amazed us with her dancing and beautiful matching voice), the small town girl from Allentown, Pa., steps into the lead role, when diva Dorothy Brock (the funny Catherine Lord) falls and breaks her ankle. The investor along with their star diva leaves, now it's up to Peggy to live up to the star in her performance.

The show breathes with magic in the feet of its actors. The tap dance segments were so wonderful to watch. For one thing, the choreography is truly the highlight of this show. I highly recommend this show to anyone that wants to have a fun time at the theatre. This show is for you.

For being a theater-in-the-round, the Marriott Theatre in Lincolnshire puts on astounding productions every season. For choosing 42^nd Street, I think they made the right choice. Everything was perfectly put in place. The comedy, the fun, the dancing, the lights, and the smiles onstage. For those of you who have never seen the show or heard it, then you maybe may have heard some the songs that are in the show, including “We're in the Money,” “42^nd Street,” and the classic “Lullabye of Broadway.”

Overall, it was a great entertaining evening of theater. Definitely go see this show. Who knows? You might be humming the music as you walk out the door. Marriot is a great theater to see shows, so if you get the chance try to see one there if you have or haven't. You won't be disappointed.

42^nd Street is playing through May 29 at the Marriott Lincolnshire Theatre; 10 Marriott Drive, Lincolnshire. The running time is 2 hours, 20 minutes. Tickets cost $41-49 at 847-634-0200 or visit them online at www.marriotttheatre.com.

The Music Theatre Company in Highland Park presents “Merrily We Roll Along,” a marvelous musical with a great book by George Furth and beautiful music and lyrics by Stephen Sondheim himself.  A rarely produced musical, The Music Theatre Company is thrilled to be presenting its first five-week run with this widely-loved work. It is based on the 1934 play of the same name by George S. Kaufman and Moss Hart. The show is about 3 friends who stick together through their lives. The story moves backwards from present day, to when they all first met.

The story begins in 1976 and ends in 1957. I love the way how the ensemble narrates the show as the characters go from old to young within a span of 2 hours. The transitions were marvelously blocked by the fantastic director/choreographer of this show, Jessica Reddish, who is the founding Artistic Director.  The set and the music were great. I highly recommend this show to everyone! I’m a huge fan of Stephen Sondheim’s work, and have never seen or heard this show. I only knew some of the familiar songs from this show, “Not a Day Goes By,” “Good Thing Going,” “Old Friends,” and “Our Time.”  But this story is truly a great story to tell, with great actors to help portray it.

The wonderful cast includes Jessie Mueller, who was hilarious as Mary Flynn, Jarrod Zimmerman as songwriter Franklin Shepard,  and Alan Shmuckler, who is a real character play Frank’s writing partner and friend Charlie Kringas. Dara Cameron plays Frank’s wife Beth, who sings a beautiful rendition of “Not a Day Goes By.” Other notable cast members in the show include Stephanie Herman as Frank’s wife Gussie, and her ex-husband Joe, played by Jerry Galante. The ensemble really helps guide this show. Props to this wonderful ensemble!

Merrily We Roll Along will be running March 31-May 1, 2011 at The Music Theatre Company at the Karger Center, 1850 Green Bay Road in Highland Park.

Shows are Thursdays – Saturdays at 8:00 p.m. with Sunday matinees at 2:00 p.m. Additional matinees will be held at 3 p.m. on Saturday, April 15 and Saturday, April 30. Tickets are $30 and can be purchased by calling 847.570.4900 or visiting  www.themusictheatrecompany.org. Groups of ten or more can purchase tickets by calling 847.579.4950 x 2.

DINNER-THEATRE PACKAGE

The Music Theatre Company’s patrons will receive a 15% discount off their bill at Café Central, a casual and cozy French bistro at 455 Central Ave. in Highland Park. Please call (847) 266-7878 for reservations. Bring in your email ticket confirmation before or after the show to receive the discount.  Discount applies for dining the day of ticket only.

For additional participating restaurants go to www.themusictheatrecompany.org.

UPCOMING EVENTS

Saturday, April 23 at 2pm, The Music Theatre Company will present a reading of the play, Merrily We Roll Along, by George S. Kaufman and Moss Hart on which the musical is based. Actors in the musical will play their corresponding role(s) in the play. The reading will be directed by Michael Weber and is free to the public. Audiences are encouraged to attend and stay for a post-show discussion, examining the methods of adaptation and the ideas utilized (or not) in the musical.