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I love flamenco for its sensual power and the amazing way both female and male dancers, whether solo or couples, locked in passionate embrace are able to make the human body dance with such precision and emotional fury. Is there any other dance form where the men are so manly and sexily dressed in their boots and waist coats and the women in their flowing dresses so, well, womanly?

Currently performed at North Shore Center for the Performing Arts, "Flamenco Passion" as a rich production covers the whole range of human experience; dancing for your life, dancing for your love and dancing for the death of those you've loved deeply. The group numbers are stunningly modern like the world premiere of “Iroko”, while remaining true to the art form and "Alegrias y Jaleos", which make you feel you are in the countryside of Spain witnessing a turn of the century town dancing their way through life in a wonderful celebration of spring.  

“Bolero”, the acclaimed masterwork by Dame Libby Komaiko was a true stunner! I didn't realize it myself until this performance that you haven't even heard the full potential of the music in Ravel's “Bolero" until you've seen a stage full of the greatest forty flamenco dancers in the world bring it to a smoldering and exploding catharsis. 

In the second act an onstage singer, Cajon player and two guitarists accompanied all five dances, which really showcases that flamenco is a uniquely human and difficult dance to master. More passionate than tap yet just as exacting, more sensual than ballet yet just as demanding,  

We as Chicagoans should be so proud that Dame Libby Komaiko founded Ensemble Espanol at Northeastern Illinois University in 1975, and that her worldwide acclaimed dances and company are still going strong. 

Longtime Ensemble dancer Irma Suarez Ruiz, who'll begin taking over the role of artistic director from Dame Libby in the coming year and Carmela Greco with her long mane of silver hair both blew the entire sold out audience away. The two proved that dance is the way to stay young with 2010 solo "Duende Gitana" which intermingled "Palmas" (hand-clapping), percussion, stamping and song. It really was a masterwork of everlasting love expressed with furious passion (there's that word again) between her and the live musicians. The live music accompaniment dance numbers were heartfelt, raw with almost ragged singing and mind-bogglingly complex percussion from the guitarists and Cajon player that expressed the ageless beauty of both the performers themselves and this wonderful dance form. The subject of no less than two documentaries Dame Komaiko has almost single-handedly kept the art form of Flamenco not only alive but growing and flourishing. She is modest when speaking of her success and acknowledges that in some troupes the art form has become too mechanical. 

I could see this show again and again and each time notice brilliant new details from this large and gifted cast each time. 

Highly recommended. 

Imagine a 70s-era Woody Allen movie set to music. That's basically "Company" by Stephen Sondheim. It premiered in a time when many Broadway musicals were just collections of songs loosely connected by a simple plot. In 1970, Sondheim's "Company" challenged that formula by presenting a musical that was more book than music. The story is even less clear than a classic Broadway show. It's the story of Bobby, a bachelor living in New York City with mixed-up ideas about marriage. 

Though Bobby (Thom Miller) is the main character, "Company" is about the women in his life. Writers Theatre director William Brown has assembled a stellar cast of Chicago actresses. Each scene is a vignette in which Bobby learns about his friends' marriages. Blair Robertson as uptight Jenny is charmingly neurotic. Tiffany Scott playing urban Southern bell, Susan, and with costumes by Rachel Anne Healy, looks like a young Cybil Shepard. With distinct performances from the female ensemble, it's hard to pick out a favorite scene from the show, however Allison Hendrix singing "Getting Married Today" is a highlight. For Sondheim groupies, this is one of the show's most popular numbers but also its most challenging with a unique staccato rhyming scheme. Hendrix pulls it off, and makes the comedy relatable. Jess Godwin as April, is the show's last stop. Her portrayal of an awkward bachelorette is sure to make everyone laugh. 

"Company" concludes on the bittersweet song "Being Alive" and while Thom Miller's performance as Bobby is a little uneven throughout, he brings a lot to the cathartic final number. In one song, the musical goes from odd-ball romantic comedy to a philosophical question about the nature of long term love.

Writers Theatre in Glencoe is rightfully proud of their new space designed by Jeanne Gang. "Company" is presented as part of their Inaugural Season. The show, like the space is sleek, stylish and sexy. William Brown's production will likely be remembered as a definitive presentation of this not-often produced Sondheim classic. With more space, it’s nice to see a show at Writers with some breathing room. 

Through July 31st at Writers Theatre. 325 Tudor Court, Glencoe. 847-242-6011.

One thing for sure - there is no shortage of shows to see in Las Vegas. Home to some of the most dazzling production shows, Broadway-esque musicals and magic acts, The Strip is sure to entertain, finding something for just about anyone, including music lovers of all varieties. As the other shows go, when it comes to live music, choices also span widely from resident acts such as Donny and Marie to Celine Dion, and though fantastic shows in their own right I’d be more than hard pressed to find a more action-packed show than The Australian Bee Gees performed at Excalibur Hotel and Casino. 

One of the most outstanding tribute shows ever assembled, this outfit does the Bee Gees right. In fact, Barry Gibbs’ own mother quoted her son as saying the AGB is the best in the world at what they do. And who can really argue with that? After watching their show I sure can’t. 

Set in an intimate theatre that probably holds less than three hundred people, fans are able to get an up close and personal experience to the music of the Brothers Gibb. Barry, Maurice and Robin Gibb are wonderfully played by Matt Baldoni, Wayne Hosking, and David Scott who perpetuate the famous band’s legacy with an enormous amount of respect, talent and excitement. This engaging, hit-filled show is broken down into different periods taking on the earlier triumphs of the Bee Gees before heading to their later, and probably most influential, years when Saturday Night Live was all the rage. With a comprehensive catalog of material hitting on love ballads like “How Deep is Your Love” and “Too Much Heaven” that are nearly guaranteed to bring out the romance in everyone, the set also lets the crowd get their boogie on with popular disco faves “Stayin’ Alive”, “Tragedy”, “Jive Talkin’”, and “You Should Be Dancing”, even transforming part of the venue into a dance club for the last handful of numbers. 

In their heyday, it was probably difficult to find someone who did not own an LP or 8-track of a Bee Gees album. Many of us have grown up with the band’s music that still holds a dominant place and influence in today’s world, making this show an exciting trip down nostalgia lane. And for those who did not, I envy their experience of discovering this music in such a fun and unique way. Immortalized in classic films, still played regularly in radio rotations, the music of the Bee Gees always takes us back to one of the most memorable periods of pop culture, highlighting the ever so groove-laden, bell-bottomed, big collared, gold medallion-hanging-over-open-chest disco era. Yet, we cannot overlook the incredible talent involved in writing and performing the music that made them famous, making The Australian Bee Gees show all that more impressive as they handle the vocals and instrumentation with amazing precision while infusing the perfect amount of energy and personality into their act to create this rare show opportunity. In other words, they wholeheartedly capture the spirit of the Bee Gees. 

Owned and operated by David Scott, Wayne Hosking, bassist Tony Richards and Michael Clift (who also performs as Barry Gibb), The Australian Bee Gees are not only a successful Las Vegas act, as they are well into their fifth year to performing for packed houses at Excalibur, they are also a popular international touring group. How can they tour while playing six nights a week in Las Vegas? Easy, by rolling out more than one band. In fact, they even have a third outfit assembled for good measure. That said, The Australian Bee Gees success is world wide. It also helps that people from all over the world attend the band’s Las Vegas’ shows, adding to their already large amount of world-wide exposure, a segment of the show proudly paying homage to the homelands of their audience members in a uniquely fun fashion. Outside of their current Las Vegas home, the band has also had residencies in other parts of the world including a six-week run at The Broadway Playhouse in Chicago. 

The band formed just over twenty years ago when “the guys” played in various cover bands and original projects throughout Australia upon realizing that no one was doing a Bee Gees tribute. Thinking it could be a challenging project and having an obvious appreciation for the music, the musicians gave it a shot and clicked immediately. Testing the waters the ABG’s booked some shows in China and after three weeks of sold out shows in Hong Kong, it was apparent they were on to something special. After their inaugural tour success, the band quickly flew back to Australia and put an entire show together based on the One Night Only concert (The Bee Gees one and only concert). Since, it has gradually snowballed into what it has become today - a fantastic tribute to an iconic band where fans around the world can relive the magic of The Bee Gees - a band that has performed in over forty-five countries.

Though their initial success caught on overseas, the band still had to conquer America. The Bee Gees certainly achieved a great level of success here and that naturally played into their favor. However, if any trepidation existed amongst the ABG members, it was unwarranted as Americans welcomed them with open arms. Wayne proved to be correct when he said, “If you can make it in Australia, you can make it anywhere”, referring to the band’s rather tough home audiences. 

The band describes the Bee Gees music as universal and timeless so much so that they cannot fit enough hits into one show. In seeing the AGB’s live, it is evident the band members are not just going through the motions but rather are playing with a true love and enthusiasm for the music - something the audience feeds on rabidly.  

When asked the band’s favorite song to perform they quickly agreed that they often have a special moment with the audience when playing “Words”, as fans sing along with the ballad word for word - even in countries where English is not widely spoken. Though many songs head the list of favorites, the band also explains that set lists are changed depending on where they are playing. For instance, what may be popular in Germany, may not be as popular in other parts of the world. Another example would be the popularity of Spicks and Specks, The Bee Gees breakout number one hit in Australia that, over there, compares to the popularity of Stayin’ Alive here in the States.  

Family-friendly, edgy and brilliantly performed, this is a show that can be enjoyed over and over again. Catch the fever - the Saturday Night Fever - and pass it on - it’s contagious.      

As a heads up, here are a few things one might expect at an Australian Bee Gees show - lots of toe tapping, hand clapping, dancing (whether at your seat or a few feet over at “Club Mo”), humor, the likeness and sound of The Bee Gees remarkably revisited and and all around experience where you will leave knowing that you just attended one of the most energetic and memorable shows on The Strip. Tickets are priced at an ultra reasonable $49.95-$59.95, making this not just one of the more affordable Las Vegas shows but one of the best overall values. 

My guests and I were seated directly in front of the center stage - I could touch it.  I had not taken a ‘sneak peak’ of the acts as to what we might expect. So, with only the anticipation of the unknown, V - The Ultimate Variety Show was completely surprising and entertaining from beginning to end.  The variety of acts went from unusual to jaw dropping.  

The host was Russ Millin, who apart from doing a wonderful job introducing the acts, had one of his own.  I’ll get back to that later!  

With so many acts to digest, I’ll just quickly run down the list of a few that stood out most to me, though there was not a single act that disappointed.

“Turf”, a young male contortionist awed (and shocked us a little) with what seemed like impossible moves, like the illusion of his head not being attached.  You can’t go to dance school to learn this style! 

Iouri and Gabor acrobatic act of strength and balance was totally Las Vegas worthy.  I would venture to say that if you don’t see this act up close and personal, you would not be able to appreciate the extreme talent and precision it takes to present what they did for us.

The Quiddlers had the audience roaring with laughter!  It was a trio of ‘little people’, or rather the illusion of it…. hard to tell.  The coordination that consumed the entire stage with song, dance and comic jesters was a commitment of hard work that really paid off.

Tamara Yerofeeva, Anna is a petite beauty who amazed us with her handling of up to 5 or 6 rings.  She made the impossible happen in more ways than could be expected and was absolutely hypnotic.

The Robot Boys from Denmark were just wonderful to watch.  Their two characters were fluid in robotic movement and acted out a number of scenarios to background rhythms.  

Recycled Percussion who actually have their own Las Vegas act consisted of two very gifted performers.   Starting out with what almost looked like ‘homemade drums’, their act began with low key sounds, escalating to competitive drum fun, and complicated duos.   Don’t want to spoil it for you, so check it out!

The husband and wife team, “The Skating Aratas” presented themselves in what I would have to describe as a thrilling and frightening routine.  Skating on a small, round platform above my own head, I could hardly watch!  With much needed perfection together the husband secured his wife in ways that seemed so daring that it seemed she would go flying into the audience at any moment.

I loved how this production mixed it up with the type of acts we saw, keeping true to its name, V-The Ultimate Variety Show.  With its great combination of humor and a unique blend of talented, sometimes seemingly death-defying acts, this is one of the most entertaining shows I’ve seen in some time. Funniest of all, or at least comparable to the Quiddlers, Russ surprised us with an audience participation routine.  Picking four men (my ‘lucky’ husband was one of them), the followed Russ’ lead on stage, acting out a skit of sorts, creating sidesplitting laughter throughout the audience.   

V-The Ultimate Variety Show is a great night out for those searching for entertainment on The Strip.  The show is reasonably priced and entertains in more ways than one could imagine.  The above mentioned are not just the acts scheduled for the show we attended, many of them have performed in other parts of the world and states, leading them to the ‘center of entertainment’ right here in Las Vegas!

V-The Ultimate Variety Show is being performed twice nightly at The V Theater in Planet Hollywood Hotel and Casino. Tickets are general admission at $69.99. 

As I sat down in my second row center seats in Planet Hollywood Casino Hotel and Casino’s Saxe Theater, the couple next to me told me excitedly that they had seen Vegas! The Show as VIP's to meet the cast afterwards ten times! This lovely couple in their early sixties from the Midwest said that they return to the show every year and even have favorite cast members that they hope will be in the constantly evolving large cast.

The show starts off in what appears to be a dark warehouse filled with a slew of large, worn hotel and club signs once brightly shining to dazzle the Las Vegas crowds. Enter “Ernie” the maintenance man. Ernie addresses the crowd, telling us about Vegas’ golden era when the likes of Frank Sinatra, Dean Martin, Sammy Davis Jr., Ella Fitzgerald and Lena Horne were in their heyday, entertaining audiences and setting the unachievable standards for future Las Vegas stars. Ernie reminds us that these were the days when women would attend shows in fancy dresses and dapper gentlemen arrived in well-tailored suits or tuxedos as opposed to today’s show-goers that arrive in shorts, sandals with white socks and t-shirts that ask “Who Farted?”. After a bit more reminiscing, he then takes us to yesteryear and we get a glimpse at what once was. In a blink of an eye, the stage suddenly transforms into a sparkling set full of life, dancers, and colorful lights. A full band appears as we are thrust into the magic of classic Las Vegas. Vegas! The Show beautifully presents a timeline of entertainment that makes stops from the 1940’s through the 1970’s, sets changing with the times as we hear one classic number after another. 

Refusing to allow any gaps in entertaining its audience, the show brings forth a variety of amusing acts front of stage during set changes from jaw-dropping juggling acts to an aerial balancing beam team that gets plenty of “oohs” and “aahs” from nervous crowd members. This show is simply oozing with talent and entertains with the best of them. It is no surprise this show has been named “Best Show in Vegas” many times during its five-year residency.       

I enjoyed this show from beginning to end. If you have a yen to see a little bit of everything Vegas is known for like tall, beautiful showgirl numbers, great personality impersonations of singers like Tina Turner, Elton John, Tom Jones, Wayne Newton, Sonny and Cher and Elvis Presley, this is the show for you. 

As impressed as I was with the singing voices of the various star impersonators I was also blown away by the large cast of well-trained energetic young dancers who filled every number with so much excitement and sexy surprises it was hard to decide which part of the stage to watch. 

This is a saucy, slightly sexy, but never raunchy respectful tribute to the historic performers and places that have made the history of Vegas what it is today, is a breeding ground for great talent.

There's also some humor mixed in with the great singing and dancing and although the costumes are sexy, I would not hesitate to take kids to this show. 

The most poignant moment of this very upbeat variety show came in the form of a slideshow at the finale as “Elton John” sang “Rocket Man”. The footage consisted of film clips of all the past great who have graced Las Vegas such as Liberace, Elvis and The Rat Pack before switching into a montage of all the hotels (Sahara, Frontier, Dunes, etc.) actually being leveled by explosives to make way for the new and modern Vegas we know today.

Filled with interesting history tidbits about Vegas yet never slowing down by literally filling the stage in this intimate 400-seat venue with old school, eye popping glamour, this really is a show to see with friends and family who'd like to experience a little of each of the great parts of Vegas just like one would at a buffet – by getting a healthy gander at so many fabulous themes in a single night. 

Tickets currently run at $79.99 for general admission though a VIP package is offer for just $20 more that assures seats closer to the stage. Showtime’s are 7pm and 9pm seven days a week. Be sure to add Vegas! The Show on your Las Vegas to do list.  

I still remember dancing with my brother in front of a wall of mirrors on our shag carpeted living room in the 1970's and thinking we were going to be the next Donny and Marie. Posters of the two famous Osmond’s sprouted up on most teenage walls and “Puppy Love” was all the rage until “I’m A Little Bit Country, I’m A Little Bit Rock N’ Roll” themed the Donny and Marie show, airing from 1976-1979. Charismatic, funny and vocally skilled, the gifted siblings left their mark on the 1970’s launching each into successful solo careers before reuniting once again years later in perhaps one of the most unlikely places – The Las Vegas Strip.    

Picture perfect smiles still as visible as ever, Donny and Marie have now become one of the most sought after attractions in Las Vegas, finding an on stage home in the Flamingo Las Vegas. Star presence and charming good looks have not eluded the two, who perform a high energy set full of classics and standards sure to please die-hard and casual fans alike with favorites like "A Beautiful Life", “It Takes Two”, “These Boots Were Made for Walking”, "I'm Leaving it (All) Up To You" and Marie’s “Paper Roses” highlighting the evening along with their still funny banter that injects the perfect dose of comedy into their act. Amidst their song and dance numbers the two still exhibited a great sense of humor that made them even more adorable. The lighthearted teasing and playful ribbing between them, like about which one of them won the Dancing with the Stars trophy and which one ONLY made it to the finals, seems genuine, fresh and unrehearsed.

Watching their show was a delightful surprise that made me feel really young to see that after all these years this dynamic, talent-packed brother and sister team are still going strong in every way!  

There is wonderful slideshow and several video clips that run in various places throughout the show, some that brought tears to my eyes of performers who have passed though most brought back happy memories of a time when these two adorable and handsome siblings took the world by storm. 

Both Donny and Marie are talented dancers and singers and have a really fresh team of dancers behind them to fill out the show. I'm not sure if most remember her true vocal talent, but Marie blew audience members away when she sang, especially on an operatic piece, which was perfect and showed not only the versatility of her voice but the amazing strength of her range as well.

Projecting a strong sparkle in his voice and step, Donny, an ageless wonder, still looks like he is in his early forties. His dancing really showcases the fantastic shape he is in and his face appears as young as ever. Marie simply looks stunning. 

The songs were varied, enthusiastic and upbeat and there are a handful of occasions where Donny runs through the crowd and connects directly with the audience in this lovely, intimate, yet still glamorous venue. Seeing them at The Flamingo Las Vegas was actually perfect. Every seat provides a great view. It had the flavor of old time Flamingo glamour along with the fun, casual feeling that you could just wander in off The Strip and totally enjoy a trip back in time to the happy part of the 70's many of us grew up in or raised kids or grand kids.

After the show be sure to take a walk in the beautiful, sweet smelling night air of the Flamingo Sanctuary and you will have just about as much fun and lighthearted an evening in Vegas one can enjoy. 

Highly Recommended.   

When it comes to an engaging mystery thriller, the need for finely-written, well-executed twists, turns and the unexpected are imperative. Afterall, a good suspense story on stage that has the ability to genuinely captivate its audience members can be one of the most enjoyable theatrical experiences we can have. In Drury Lane’s current production Deathtrap, we get just that. Deathtrap, written by Ira Levin in 1978 and later becoming a film starring Michael Caine and Christopher Reeve, is a whodunnit that pulls you in keeps you guessing so that just when you think you’ve figured it out, another curveball is thrown.

Upon entering the theatre, we are met with the interior of a Victorian house with a rustic interior. Swords, poster tins of plays and antiques such as Houdini’s handcuffs and collectible pistols decorate the walls and shelves. When looking closely, it appears the way the rafters are cut suggest we could be looking into a massive trap. 

It all starts when a theatre professor, a former flourishing playwright, Sidney Bruhl, takes notice of a play written by one of his students, Cliff Anderson. It’s brilliant - a sure fire hit. It’s been a looooong time since Bruhl has had a successful play and there is no reason to think he is on the brink of anything else that could make waves in the theatre world. When Bruhl promptly invites Anderson - along with his single transcript - to his country home where he lives alone with his wife, Myra, the suspense begins and only thickens as we wonder if Sydney is capable of murdering for a hit show. The well-written dialogue keeps one on edge, moving back and forth from friendly banter to that of a suspicious nature. Adding to the intrigue are Myra’s suspicions and the interactions of Helga, the Bruhl’s neighbor who possesses psychic abilities. 

Daniel Cantor as Sydney Bruhl and Aaron Latterall as Cliff Anderson are brilliant together as they lock horns in their highly engaging cat and mouse exchanges, each performing magnificently while McKinley Carter as Myra offers strong support and is able to cement the growing tension to enhance the audience’s intrigue even further. Though plenty of witty dialogue between players to incite a good share of laughs, Cindy Gold as Helga den Dorp is absolutely hysterical as the psychic neighbor, causing quite a stir with her “visions” that often includes exaggerated body language and heavy moaning. 

We are constantly asked the question on what we would actually do to gain success, no matter what has shown up in our past nature or not, should the opportune moment take place. Should the temptation be great enough, should we know we would get away with, let’s say a crime of significance, we generally rely on the thing deep inside ourselves that would not allow us to go to such extreme measures - to take such action - most people anyway. But what happens when one’s morale compass fails us them - is absent? What is one’s breaking point?

Deathtrap is a nearly perfect psychological thriller. Add that to the fact that this particular production boasts exceptional acting performances, a detailed set that draws one in before the show even begins and a healthy diet of humor, and it would be impossible not to recommend this fantastic play.

Wonderfully directed by William Osetek Deathtrap is being performed at Drury Lane Theatre in Oakbrook through August 14th. For tickets and/or show information, visit www.drurylanetheatre.com. 

When I say the name Ben Hecht most of you will look at me with confusion not knowing who I am talking about. That is understandable, given that most people don’t seem to care about anything before 1990. I myself did not have the strongest handle of who the man was prior to seeing “The Ben Hecht Show” at the Piven theatre. 

Ben Hecht was a newspaper reporter for the Chicago Journal and Chicago Daily News during the 20s. He parlayed his success in the newspaper world into a successful stage-writing career along with a very successful career as a screenwriter. He wrote some great films during what is considered the “Golden Age” of Hollywood. He wrote The Scoundrel, Nothing Sacred, Wuthering Heights, Scarface (not the Al Pacino one), and was uncredited for working on Gone with the Wind. He won an Oscar for best original story for Underworld and best writing (along with partner Charles McArthur) for The Scoundrel. 

James Sherman wrote, as well as stars in, the one man “Ben Hecht Show” that is based on Ben Hecht’s books A Guide for the Bedevilled and A Child of the Century in which Mr. Hecht struggles to confront his identity as an American Jew. 

Mr. Sherman has found a sweet spot in writing and adapting the works of Mr. Hecht as the audience is treated stories from Mr. Hecht’s past as if you were the only person that he is talking to. There is a feeling of intimacy to it all. You are able to understand how and why this man is grappling with the notion of being Jewish and what it truly means to be Jewish.  When he figures it all out he is only back at the beginning as various leaders of different Jewish organizations condemn his words to the point of calling him Goebbels puppet. The internal struggle is real. The writing of Mr. Sherman and stage direction of Dennis Zacek are able to capture all of Mr. Hecht’s inner conflict. The performance by Mr. Sherman as Ben Hecht leaves something to be desired. 

The entire show takes place in what would be the imagined study of Ben Hecht. Mr. Sherman wanders across the stage playing the conflicted writer as if he is just moving from one thought to another. One moment we are treated to stories, with a slideshow presentation, about him working with Alfred Hitchcock, John Ford, and David O Selznick. The next moment we are shown a stack of books of Jewish literature. All of this plays out in a monotone one-note performance. While the words tell us that this is a man struggling with his own identity we are not shown this. Mr. Sherman gives no range of emotion and barely registers a slight chuckle when delivering sharp quips that he himself penned. 

Mr. Sherman must be congratulated on his efforts in accomplishing a one-man performance, as this is no small feat. The performance can be sculpted and formed to where a stronger connection with the audience can be made as it is playing through July 17th. This is a show that offers nothing but the promise of an enlightening 90 minutes of self-reflection and self-discovery, a self-discovery that anyone who attends the performance would be happy to have seen. 

The Ben Hecht Show

Where: Piven Theatre, Noyes Cultural Arts Center, 927 Noyes St., Evanston 

When: Now through July 17th 

Tickets: $35

Info: grippostagecompany.com 

In the early 90’s, the now defunct supermarket tabloid Weekly World News, published a story about a creature - half boy half bat - found in a West Virginia cave. That story became the inspiration for Bat Boy: The Musical written by Keythe Farley and Brian Flemming with music and lyrics by Laurence O’Keefe.  The first production opened in 1997 and the show made its off-Broadway premier in 2001 quickly becoming a cult hit.

The show opens as a few residents of Hope Falls happen upon the Bat Boy while spelunking. Surprised by the visitors to his cave, Bat Boy attacks Ruthie and is then captured by her brothers Ron and Rick. They turn him over to the local sheriff, who drops him off at the home of the town veterinarian, Dr. Parker, hoping he will be able to put him down humanely. The vet’s wife and teenage daughter Shelley have different plans however, somewhat to the chagrin of Dr. Parker. They feed him, get to know him and eventually come to care for him, teaching him and helping him grow into a “normal” member of society. The folks of Hope Falls however, are scared of Bat Boy but Mrs. Parker and Shelley work hard to win them over, until things start to fall apart and truths start to be revealed that shed a whole new light on Bat Boy and his family.

Falling into the genre of horror/comedy musical, this show is unique from the start. It touches on some heavier themes such as racism, bias, revenge, understanding and forgiveness but with well-timed comedic moments and campy songs it keeps things from getting too dark. The story continues to throw curveballs right up until the end, keeping the audience entertained, surprised and even touched. It challenges the audience to think about their own biases while making light of some very heavy topics with some hilarious moments that have everyone laughing out loud.

The performance was polished and well put together under the direction of Scott Weinstein. The cast of 10 actors, representing twenty-two different roles, were spectacular. They shifted from character to character perfectly, often portraying female characters in drag which felt like a perfect fit for this show.  Everyone played a huge role in the show and brought both strong acting, good timing and strong vocal performances together to create an overall excellent show.

Staged in The Den Theatre, it made the most of an intimate space. The set was well designed by Jeff Kmiec and Greg Pinsoneault and the set transitions appeared seamless. With some of the seating practically on stage, and set pieces allowing for lots of movement and levels on the stage it created a very unique experience. In some scenes, the entire audience seemed to become part of the show, as the actors broke the 4th wall and interacted directly with them.

Bat Boy: The Musical is certainly a one of a kind musical. It may not be for everyone’s taste as it does include some rude humor and pretty twisted storylines but it is a hilarious and excellently executed show so if you are looking for something a bit unique to break up the monotony of cookie cutter musicals, this is it! Get your tickets and check it out before the run ends on July 24th!

Charles Busch, creator of the camp classics, Die, Mommie, Die!, Psycho Beach Party and Vampire Lesbians of Sodom seems to have written The Divine Sister just for David Cerda and his fabulous cast of rotating members in Hell in a Handbag Productions.

Affectionately making fun of films like The Song of Bernadette, The Bells of St. Mary's, The Singing Nun and Agnes of God, and a strong dose of The Davinci Code, The Divine Sister actually pulls some great ideals out of each and makes some wonderful points during all the fun and mayhem about what it means to "believe" in God and miracles within a religion that doesn't believe in you - if you are female or gay. 

David Cerda as Mother Superior rules the roost as always with a performance combining the essences of Joan Crawford and Rosalind Russell with both sparkling humor and unexpected tenderness. While trying to raise money to rebuild her crumbling church Mother Superior is confronted with all sorts of "obstacles", which really turn out to be miracles in disguise. 

The young postulant, Agnes, played by Charlotte Mae Ellison, who is seeing visions and “experiencing” the signs of stigmata also turns out to be Mother Superiors long lost daughter. While one hilarious twist occurs after the next, the object of a Davinci Code type search also reveals Agnes to be the reincarnation of "Joyce" the long forgotten older sister of Jesus Christ himself whose body was entombed beneath this very church.  Joyce is the actual doer of the miracles attributed to Jesus. I thought this was a marvelous feminist plot twist that could have been explored even further. Ellison is beautiful and perky in the role, epitomizing the young nun image of early 1960s TV, but I felt she needed to add a few subtler layers to her physical comedy and vocal levels in order to compete with the more mature comedic players surrounding her. 

Levi Holloway deserves special kudos, both as sinister albino Brother Venerius searching for Joyce's incarnation and particularly as film producer Jeremy who is still wholly devoted or should I say HOLY devoted to his long lost love of Cerda's Mother Superior from her pre-nunnery days as a brilliant news reporter Susan. Levi Holloway really DELIVERS the comedy, especially in the extremely rapid fire monologues and fast talking flashbacks to their exciting early reporter days of flirtation and falling in love with each other through words, glorious words. 

Performed at Ebenezer Lutheran Church in Andersonville, the setting couldn’t be more appropriate. John Holt has transformed this actual church into a fully functioning and beautifully lit theater "church" with stained glass and special effects that heighten the drama perfectly from scene to scene. At the same time, Keith Ryan and Kate Setzer Kamphausen’s wig and costume designs are absolutely essential for each character and mind-blowingly funny. 

The neighboring atheist, a bitter Jewish woman who turns out to be Mother Superior’s long lost mother Mrs. Levinson, as well as a gender-confused Convent student named Timmy, are both wonderfully played by Chad.  Chad is on top of his game and totally hilarious in both roles, brilliantly delivering Busch' complex, fast and funny monologues without tripping once. Ed Jones as Sister Acacius also puts forth a thoroughly entertaining performance. It is always a pleasure to see Cerda and Jones in action together, as their chemistry is tough to beat. 

The Divine Sister isn't just about the miracle of three generations of women being reunited with their daughters, it also strikes a real blow at a church system which denies sexuality to its members in ANY form, gay or hetero and as a result denies each of these women and men a chance at living a full life unless they realize the folly of prolonged abstinence - a FORCED shame and despair filled type of abstinence, not voluntary, which was never prescribed by the bible anyway. 

The laughs don’t stop. There are so many funny subtleties and bits of finely aimed sardonic humor mixed in with sidesplitting over the top scenes such as Cerda and Ellison’s lip-synced duet and dance to the backing track of a number of pure cheesiness.   

Highly recommended for a night of fun-filled camp and silliness with a few heartfelt messages about the reality of miracles that come into your life whether you believe in God or not. 

The Divine Sister is being performed at Ebenezer Lutheran Church through July 10th. To find out more about this very funny show, visit www.handbagproductions.org.