Displaying items by tag: Aurora Penepacker

The 1950s is easy to idealize. Men styled tailored suits, women dazzled in pleated dresses, and everything glimmered like it was in a commercial. Life’s troubles were solved with a talk from pop or a hug from mom – or that’s how it seemed. Drury Lane Theatre’s Father of the Bride transports audiences to that romanticized time, and it’s a welcome trip!

Published in 1949, Father of the Bride was adapted for the stage and screen, including two beloved movies starring Hollywood heavy-weights Elizabeth Taylor, Spencer Tracy, and, later, Steve Martin in 1991. While a wedding-gone-wrong may be a familiar story, director Michael Heitzman infused Drury Lane’s rendition with charm, laughter, and sincerity, making it feel fresh.

The play follows Stanley Banks, whose one-and-only daughter prepares for her big day, but she just wants a simple ceremony. Then again, she does want to invite all of her friends… and wants a beautiful dress… and well, by the time everything adds up, the small affair balloons into a whopping headache for dad.

Joe Dempsey’s portrayal of Banks, the set-in-his-ways father, is spot on, and his ad-libbed groans and physical comedy can’t help but make you laugh and empathize with poor, ol’ dad. He balances his old‑school bravado with the teddy-bear-interior so well, creating the heart of the story and avoiding the tired “dumb dad” troupes.

Aurora Penepacker and Jake DiMaggio Lopez in Father of the Bride. Photo by Justin Barbin.

Also making up the family is Rachel Sullivan, who plays the mother, Ellie Banks, with a gentle, confident air, and sons Ben and Tommy are portrayed by Kyle Ringley and Charlie Long, who bring charismatic Leave It to Beaver energy.

Aurora Penepacker plays Kay Banks, the soon-to-be bride with all of the charm of Elizabeth Taylor, and Jake DiMaggio Lopez is her moonstruck, in-over-his-head fiancée, Buckley Dunstan. Their chemistry is fun to watch as every emotion ping-pongs around as their nuptials draw near.

The ensemble also includes some fantastic performances. Michele Vazaquez portrays the tightly wound secretary, Miss Bellamy, who delivers a hilarious meltdown when every member of the family sabotages her efforts to finalize a guest list. Ed Kross brings quirky comedy as the caterer, Mr. Missoula, who steamrolls the Banks (and jumps like Super Mario), and Maya Hlava as Peggy Swift is an overzealous girl-next-door who plots to catch the bouquet.

The original compositions composed by Curtis Moore also deserve a shout-out. They serve as the perfect soundtrack during sequences which showed seasons changing or wedding gifts flooding in and add that extra something that makes you feel like you’re watching your favorite black-and-white sitcom.

Comedy can be tricky to tackle, but Father of the Bride makes ever beat work. It’s whimsical, playful, and a reminder that when things go awry, those you love will always be there. Father of the Bride is an invitation to a pure, wholesome evening, and it’s an invite you should not pass up.

Father of the Bride runs through May 31 at Drury Lane Theater. Click here for tickets and more information.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Earlier this summer, The New York Times asked its readers to submit their lists of the top 100 films of the 21st century. Scrolling through social media, it was clear the 2001 French film ‘Amélie’ was a millennial fan favorite. A whimsical rollick through Montmartre seems like ripe fodder for a musical these days so it’s no surprise the film was adapted for the stage in 2017. While not exactly a huge hit during its original New York run, Kokandy Productions sets the record straight with their Chicago debut.

If you took French in high school or college during the early 00s, chances are you’re familiar with the quirky character famously played by Audrey Tautou. With a show like this, your production can only be as good as your Amélie. Aurora Penepacker brings the character to life in a charmingly familiar way but with her a voice that is altogether unique and powerful. Amélie might be timid, but in this version her voice is anything but. Her romantic counterpart Nino is played with bittersweet sincerity by Joe Gionvannetti. Their chemistry is undeniable.

By now there is growing fatigue of Broadway musicals adapted from beloved films. A big reason is that often the music feels somewhat secondary, but Daniel Messeé’s whimsical score stirs up all the same kinds of emotions the movie does without oversimplifying the plot. The songs are woven into the plot and take the audience even deeper into Amélie’s rich inner world. A lively cast of actors and musicians provide just the right ambiance to feel whisked away to Paris for the evening.

The world of ‘Amélie’ at the Chopin Theatre is a very beautiful one. Kokandy Productions has the perfect space for director Derek Van Barham’s vision for this show. Nestled in the basement theater, Amélie’ is staged in a way that makes audiences feel as if they’re sitting in the cafe where Amélie works. Those who have been to the Chopin Theatre in Wicker Park will recall their “cottage core” aesthetic rich with antiques and shabby-chic furniture. Van Barham’s staging makes for an immersive experience that also really serves the emotional tone of the show.

With ‘Amélie’ Kokandy Productions proves again what makes Chicago such a thriving non-equity theatre scene. Creativity and talent intersect with their revival. There’s a world in which an ‘Amélie’ musical could be the cringiest thing to ever trod the boards, but instead Van Burham goes for something more authentic. His version has found a refreshing balance of the artful and the wistful. Haven’t seen ‘Amélie’ the film? No problem. The script by renowned playwright Craig Lucas is a succinct retelling without subtitles. If you’re feeling a little nostalgic for the twee early 00s, ‘Amélie’ is a lovely stroll down memory lane. 

Through September 28 at Kokandy Productions at The Chopin Theatre. 1543 W Division St. 773-278-1500

*Extended through October 19th!

*This review is also featured on https://www.theatreinchicago.com/! 

“Gonna have to study up a little bit if you wanna keep up with the plot ‘cause it’s a complicated Russian novel,” so says the prologue in Writers Theatre’s Chicago premiere of ‘Natasha, Pierre & the Great Comet of 1812’. Don’t let the complicated Russian novel part scare you off because Dave Malloy’s unique take on Leo Tolstoy’s classic ‘War & Peace’ is anything but a living book report. It’s a serious breath of fresh air for musical theatre as a genre.

Nominated for an impressive amount of Tony Awards in 2017, including Best Musical and Best Musical Score, ‘The Great Comet’ was a smash hit to say the least. It’s not often you see a line queued up for a musical adaptation of a very long book, the other most notable being ‘Les Miserables’ in the 1980s. And just like ‘Les Miz’, the playwright has done a lot of trimming to ensure a normal two and a half hour running time. Instead of utmost faithfulness to the source material (as is the case with ‘Les Miz’), Malloy turns the period piece musical on its head. 

‘The Great Comet’ is a chamber opera, in that every line of dialogue is sung-through and the songs further the plot, hence the prologue. What’s really interesting about this particular adaptation is that for one, you do not need to have any familiarity with Tolstoy’s behemoth novel in order to be dropped into the middle of the book. ‘The Great Comet’ is but a small section of the book, but it is arguably one of the most interesting parts of the novel. Dripping with juicy soap opera subplots as well as the richly drawn interior lives of the characters, something Tolstoy was quite adept at. This show also wouldn’t spoil the overall plot of the novel as it leaves some plot points open-ended that are later solved in the novel.

Natasha (Aurora Penepacker) is engaged to Andrey (Matthew C. Yee) who is at the front fighting in the Napoleonic war. For safety’s sake she’s living with her soon-to-be in-laws in Moscow and for the first time in her life seeing the big world and all its temptations. When she meets dashing, but wicked Anatole (Joseph Anthony Byrd), she begins a risky affair that could threaten her future.

Writer’s Theatre’s production is one of the first major revivals since the original Broadway production and under Katie Spelman’s direction, it’s an absolute delight from beginning to end. When the curtain comes down on the first act, you’ll be immediately craving more. More of the music, more of the incredible voices and more of the heartrending music that cuts to the core of what it means to love.

This production culls together some of Chicago’s most formidable singers and actors including Bethany Thomas in the role of Marya (Natasha’s guardian) who gives one of the most electrifying performances of the evening. Not to be outdone, playing Nathasha’s best friend Sonya, Maya Rowe has likely the evening’s best solo with the song ‘Sonya Alone’. Aurora Penepacker does Tolstoy’s vision of the innocent Natasha more than justice, her song ‘No One Else’ provides the first pang of emotion. Though, don’t count Bri Sudia out as Pierre’s philandering wife Helen. She’s delivering pure musical theater magic all night. 

Spelman’s aesthetic for this production moves this musical from the black box to the opera house. Grand in scale, but still intimate. There’s a certain Baz Luhrmann quality to the costumes and the staging, and along with the modern pop soundtrack creates a very satisfying product. It just feels cool.

What will make this niche show continue to prosper in revivals is the music itself. Sophia Copola might be the godmother of putting modern music into period pieces, but Dave Malloy is doing more than just borrowing familiar tunes from his youth. The soundtrack feels like the first truly relistenable soundtrack in decades. Not a bit of the saccharine jukebox music with throw-away lyrics here. And though there is a musical through-line, what this show really benefits from is the unexpected diversity of unique sounding songs. Each song becomes its own world in a way that most modern musicals fail at. It feels like a harken back to the Sondheim era of musical theatre.

‘The Great Comet’ is the perfect musical for people who say they hate musical theatre. At the risk of saying “steampunk”, it’s a refreshing take on both musicals and adaptation. The creativity of both the cast and direction at Writers Theatre makes for an enchanting night at the opera.

Through October 27 at Writers Theatre. 325 Tudor Court, Glencoe, IL. 847-242-6000  

*Extended through November 3rd