Displaying items by tag: Campbell Krausen

Timeline Theatre unveils their chic, new Uptown home with its inaugural production–Henrik Ibsen’s ever-relevant “An Enemy of the People”. A streamlined text by acclaimed playwright Amy Herzog cuts right to the bone in this fast-paced version straight from Broadway.

It shouldn’t come as a surprise that Timeline chose to open their new space with Ibsen’s classic play about a town that prioritizes economics over public health. History continues to repeat itself. Whispers of AI data centers seemed to be on everyone’s lips during the intermission as the modern day parallel is impossible to ignore. Timeline, who is known for their dramaturgical installations by Maren Robinson, doesn't shy away from the ugly reality that our Great Lakes are under attack from the tech billionaire class who aim to guzzle ungodly amounts of our fresh water. 

The play begins on a chipper note, an economically downtrodden town brims with excitement for their new spa and resort that is sure to boost local prospects. That is until plucky Dr. Thomas Stockmann (Will Allan) makes a chilling discovery about the contaminated water source. At first his friends at the local newspaper are behind his decision to inform the townspeople, but as his brother Peter, the mayor (Behzad Dabu), becomes involved support begins to waver. Soon his adult daughter Petra (Campbell Krausen) is his only ally. 

Petra Stockmann (Campbell Krausen, background from left), Hovstad (Grayson Kennedy), and Captain Horster (Charles Andrew Gardner) watch attentively as Dr. Thomas Stockmann (Will Allan, foreground) reviews shocking scientific revelations.

Herzog’s version is more akin to a chamber play than Ibsen’s, perhaps less grand in scale but certainly easier to digest. She also inserts some modern political flourishes that give more depth to the female protagonist Petra. With a slimmer cast and script, individual performances stand out and the intensity is more sustained. And by the second act, the audience becomes part of the cast in a way. This device works especially well because of the brilliant performances of this intimate cast.

“An Enemy of the People” becomes just as frustrating as Miller’s “The Crucible”. That infectious sense of outrage comes down to Will Allan’s devastatingly honest portrayal of a man who loses everything for the pursuit of truth. Allan has a gift for physicality, often interjecting some levity wherever possible. Audience participation becomes hard to contain as he’s continuously silenced by the newspaper staff and his greedy brother. Behzad Dabu opts for a more pragmatic interpretation of the mayor than straight up villain. In fact, there are moments where despite the poisonous water, you might find yourself agreeing with him, therein lies the danger. The emotional anchor of the show is Campbell’s Krausen’s Petra. Much like Allan’s performance, the shift from light to dark is heartbreaking.

Timeline’s glow up from Wellington to North Broadway is something to marvel at. Uptown has gained a Steppenwolf-level theater. Legendary Chicago director Ron OJ Parson brings a certain sophistication well deserving of this sleek 250-seat theater. Everything is just right here. John Culbert’s stylish set and stage magic really fills this gorgeous new performance space. Uptown really is quite lucky to have this wonderful new theater in its backyard. 

Through June 27 at Timeline Theatre. 5035 N Broadway. 773-281-8463 x1

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

You’ve got to give Marriott Theatre credit for always swinging for the fences. Just this past year, I’ve seen them put on The Sound of Music and West Side Story, two shows that any audience will know as well as the cast. But that’s because these beloved shows are beloved by audiences, because they are that good. And the Marriott Theatre can always pull it off—putting on great productions of said shows and leaving audiences thrilled in the process—because of the consistency and quality of their casts and their crew.

Marriott’s current production of The Wizard of Oz—an abridged but always charming version “for all ages”—is the theater’s latest big swing. And they do not miss. The audience, truly of all ages, was enthralled for the hour-long runtime, enchanted by the standards that were sung and the famous lines that were delivered, by the immersive Land of Oz allowed by the theater’s in-the-round setup and by the magical characters who live there.

But first, we Dorothy. Earlier this year, Campbell Krausen was a standout in Marriott’s Sound of Music, playing the angsty Austrian near-seventeen-year-old Liesl von Trapp. Now, Krausen finds herself not in the Alps, but in Kansas, and gives a smiling and wide-eyed performance as Dorothy Gale. Once in Oz, Krausen’s drab rural surroundings give way to a colorful world made more so by the cast.

Harriet Nzinga Plumpp has all the haughty cheer that Glinda the Good Witch must possess. Jacquelyne Jones strikes fear into any of us who, as children, watched Margaret Hamilton through closed eyes on the TV screen. Allison Sill’s Scarecrow flops and cavorts like a regular Ray Bolger (Sill also hosted a sweet Q&A session with the audience afterwards). Michael Turrentine’s Tin Man is all heart. And Lorenzo Rush Jr.’s Cowardly Lion is a hoot. Once Kevin McKillip’s Oz steps out from behind the curtain, he too is stellar.

But it’s the ensemble who make this show really special. I have seen Laura Savage in a few shows now—everything from A Chorus Line to Newsies—and each time I’ve seen her, whether she’s headlining or working hard on the chorus line, she’s been the MVP. Here, she does her thing, joining Mandy Modic (who’s also the human and handler of the handsome gentleman playing Toto, Sir Reginald) and Matthew Bettencourt (who’s all Munchkin energy and Emerald City wonder) to become the terrifying twister, the grateful folk of Munchkinland, the Wicked Witch’s enslaved henchmen, and more.

And these people are the reason that Marriott Theatre is able to consistently put on worthy productions of the standards—these talented actors all bring their gifts to the Marriott stage, where they show that they love the Land of Oz and all of its wizardry and wonder every bit as much as the audiences lucky enough to see them perform, here in The Wizard of Oz, through August 7.

For most of us—those reviewing theater or those thinking about attending or just about anyone, I guess—Rodgers and Hammerstein’s The Sound of Music is omnipresent. Just a part of our existence. The original soundtrack in everyone’s grandmother’s vinyl collection, with all of those songs. The 1960s film version that once played on television annually, a family event (at least for mine). And all of the attached memories. It’s like The Wizard of Oz or The Bible or The Beatles. It just is and always has been, and we all have some kind of connection to it.

So, with that in mind, I was both excited to see the Marriott Theater’s new production of The Sound of Music, but also wondered how anyone might put on a production that can compete with memory, with perfection, with Julie Andrews. But, like so many other wonderful Marriott shows, Nick Bowling’s The Sound of Music delights.

The level of talent on the stage becomes clear right from the start. Nuns from an Austrian abbey parade down the theater-in-the-round’s four aisles with candles, then launch into the show’s opening “Preludium.” With all the beloved classic songs to come, this is still the moment of the show that stuck with me most—the cast throws down the gauntlet, announcing they can sing, and do they ever. I got chills from the acapella chorus. I’ve got chills remembering it as I type.

And then we meet Maria. While no Julie Andrews, Marriott newcomer Addie Morales doesn’t need to be. She’s herself, and she charms as soon as the spotlight first hits her. A lovely singer who shows off her range, it’s her overall being that shines from the stage just as much as her voice. Again, while all her own woman, Morales shares Andrews’ ability to draw the eye and ear whenever she’s onstage.

But the rest of the cast, those not in the nunnery, are every bit as good. The children, who I worried might be hamming or annoying, were all very genuine. Campbell Krausen, who plays 16-year-old Leisl, not only shows awkward teenage chemistry with Emmet Smith’s Rolf, she really seems to encourage and mother-hen her onstage siblings. Brody Tyner as Friedrich has not just astonishing vocal chops, but accompanies on guitar on a couple numbers. Erik Hellman plays Captain Georg Von Trapp, family patriarch with a rough edge that eventually softens.

Marriott’s ensemble, as always, is consummate. Heidi Kettenring and Rob Lindley really work as the two on-the-fence Nazis who provide a bit of drama and plot to this story that’s really about all those songs. And those songs... Again, the entire cast can sing. And they’re made all the better by conductor Patti Garwood’s orchestra. And, if you want to realize just what songs they are, what a show this is, and what a wonderful production that The Marriott Theatre is presenting of The Sound of Music, find out for yourself, now through June 5 in Lincolnshire.