Displaying items by tag: Drury Lane Theater

There is something timeless and lasting about 1920s and 1930s jazz. The lively tunes and sultry tempos defined an era and resonates throughout every aspect of our culture from movies and cinema, music and radio, and to literature and theatre. I jumped at the opportunity to revisit the art-deco, jazz-fueled era to see The Fats Waller Musical Show, Ain’t Misbehavin.’

The incomparable Drury Lane in Oakbrook transports us back to the 1930s to celebrate the music of Grammy Hall of Fame American jazz pianist Thomas “Fats” Waller and the vibrant spirit of the Harlem Renaissance. Set in Chicago’s Bronzeville neighborhood in 1939 Ain’t Misbehavin’: The Fates Waller Musical Show is a non-stop party, featuring over 30 numbers with including “Honeysuckle Rose,” “The Joint is Jumping,” and “I Can’t Give You Anything But Love,” and of course “Ain’t Misbehavin’.” With a live pianist, a four-piece brass band, and an incredible cast of talented singers and dancers, you’ll lose yourself in the irresistible rhythms and soulful melodies that defined an era of musical brilliance. From sultry ballads to upbeat swing numbers, come to Ain’t Misbehavin’ for an evening of unparalleled entertainment where you’ll find yourself swaying and humming along to the enduring melodies from the legendary Fats Waller.

Coming into the play I was expecting one of two things. The first that this was going to be about the life of Fats Waller in the same way Tina Turner: The Musical or Beautiful: The Carol King Musical is. As the show started with the cast engaging the audience in the same style speakeasies and clubs allowed in the 1920s and 30s, I started to think the show was more like Choir of Man, more of a journey or a snapshot in time. But Ain’t Misbehavin’ takes a different approach entirely, one that this author hopes to see more theatre like it. Ain’t Misbehavin’ is an auditory and visual time capsule come to life. What it lacks in a narrative, it makes up for in pure enjoyment of the soulful music that defined an era and paved the way for modern jazz.  Director E. Faye Butler, a native Chicagoan and Southside resident surrounded by the beauty of the architecture and music of the Bronzeville neighborhood, says it best, “I wanted to bring a bit of history through the music of Fats Waller to the Drury Lane audience. Although Fats’ music was primarily written and performed in New York City during the Harlem Renaissance period, that same spirit and music was happening right here in Bronzeville at clubs where Fats performed, such as Club DeLisa, The Cabin Inn, The Regal Theatre, or The Palm Tavern. This was Chicago at its finest in 1939.”

With the exceptional talents of Sharriese Y. Hamilton, James T. Lane, Alanna Lovely, Alexis J. Roston, and Lorenzo Rush Jr., coupled with the music prowess of the Drury Lane Orchestra led by the incomparable William Foster McDaniel, this ensemble will have you jumping out of your seat and dancing in the aisles (or at least feel the urge to).

We’re brought into a world many people might not have experienced or heard about in every day experiences. To truly appreciate this piece you must not approach this show like others you have seen. It’s not a narrative. There is no great story arch. The actors and actresses need your engagement and enthusiasm (respectfully) and want you to interact with them when they signal you to. This is a club after all. Aren’t we all here to have a good time and listen to some incredible music? This is a show celebrating Fats Waller as much as it is celebrating incredible music that will stay with you long after the air raid sirens have gone off and we must once again be on our best behavior as we venture back to our lives. But for a short while, a brief moment in time, we can escape to 1939 Bronzeville where misbehaving is highly encouraged (respectfully).

The Tony-Award Ain’t Misbehavin’, The Fates Waller Musical Show revue is directed by E. Faye Butler and runs through Aug 18^th, 2024, at Drury Lane Theatre, 100 Drury Lane in Oakbrook Terrace. Tickets are available at www.drurylanetheatre.com.

Like most things in our lives, what once was old can be new again (looking at you wannabe fanny packs). But some things can stand the test of time and find a resurgence, not to be duplicated but merely rediscovered by a new generation. A Chorus Line, now playing at the Drury Theatre, is just the thing that proves that, without duplication or manipulation, the themes exuded throughout the musical and its numbers speak across generations and stand the test of time and political correctness.

In A Chorus Line, hundreds of hopefuls congregate at a cattle call for Broadway dancers. A sour director and his assistant whittle down the ranks until they're left with 16 dancers (“head up, headband!”). All tell their life stories -- some tragic, some comic -- and explain their love of dance. Tension mounts when Cassie, once both a big star and the director's lover but now desperate for a part, auditions. But Zach must choose only the best for his show.

So what is it about A Chorus Line that gives it such staying power?

Maybe it’s the relateability of putting yourself on the line; working for years and years for a single moment, a single audition. The opening sequence of the musical “I Hope I Get It,” performed by the ensemble cast, brings the audience into the electrifying, heartpounding, anxiety-inducing audition. Aren't we all auditioning for the chorus? From job interviews to dating, we are always putting our best foot forward hoping against all the odds someone chooses us. We can prepare for years, memorize the steps, not miss a single beat, and still not get the part. With each hopeful cast member singing “I really need this job. Please God, I need this job. I've got to get this job,” resonates throughout the audience, and hits hard no matter the decade.

Perhaps it's the theme of understanding where you have come from to accept where you are today, no matter your background. As Zach interviews the cast, we begin to learn about the backgrounds of each hopeful auditioner, as they recall hilarious experiences and share embarrassing details such as “I really couldn't – Sing! I could never really – Sing! What I couldn't do was– Sing!” While recounting where they were, we learn that everyone on that stage dreamed of something bigger than them and we see an homage to youth and overcoming those awkward and challening years with "Hello twelve, hello thirteen, hello love!” Nostaligia can be sweet and innocent or bitter and sad, but they are our formative years. The number really highlights the humor, awkwardness, and tribulations of youth and celebrates it as the necessary path toward becoming who we are today.

It could be the relatability of fighting imposter syndrome, believing that you aren’t good enough. Or when we’re slowly unmasking, realizing you were being encouraged andpushed towards a life and dream that you didn’t really want. When Cassie takes the stage and expresses her only love was not to be a star but to dance, and as she dances her heart out in “The Music and the Mirror” we feel every kick, every headsnap, every spirit finger of emotion. For a single moment we’re all Cassie, wanting to just do what we love without fear, or judgement, or interpretation. To just dance and be allowed the freedom and autonomy to do just that.

For me, it’s the simple honesty of knowing that you tried; regardless of the outcome and if you never truly make it, at least you put yourself out there, and tried. “What I Did for Love” is the perfect balance of bittersweet gratitude, not regretting what you did in pursuit of a dream. It’s this theme that is the most prominent throughout the musical from the opening audition to the closing, glittering kick line.

Drury Lane is quickly becoming my favorite theatre in the Chicagoland area. It continues to deliver incredible performances under the glittering chandeliers of their venue and their 2023 line up is sure to draw even more suburban theater goers to Oak Brook instead of Chicago. A Chorus Line runs through March 19th, get your tickets today at https://drurylanetheatre.com/a-chorus-line/.

When I was in college, a roommate shared their obsession with a Christmas movie I had never seen, the 2003 Will Ferrell film Elf. Over the next few years, she would religiously play Elf on replay during each fall semester with proclamations it was the perfect "it’s the perfect cozy weather” movie, to “it's almost the holiday season" movie, followed by "let's kick off the holiday season" movie, until it was the inevitable "It's Christmas!" movie. Upon graduation, I was Elf-d out and the film eventually made way for other holiday classics like Die Hard. As Elf approaches its 20th anniversary, it found it’s unlikely way back into our holiday shuffle, migrating from the movie to the stage. Elf-the Musical brought Christmas early to Chicagoland.

From the minute you enter the lavish and sparkling Drury Theatre, you are taken into another world. People here are smiling, shiny, welcoming, and prone to breaking into spontaneous song and dance; and those are just the theatre guests! Elf-the Musical draws nostalgic millennials, rosy cheeked children, musical theatre lovers, and theatre supporters alike to this soon-to-be holiday stage classic. Elf-the Musical follows the story of Buddy the Elf, who after discovering he is really a human raised as an elf, makes the journey from the North Pole to New York City to find his birth father, sharing the true meaning of Christmas along the way. Based on the hit holiday film, Elf- the Musical brings heart, hilarity, and holiday joy.

Admittedly, I was not particularly in the holiday mood, as my Elf PTSD was still strong. But I challenge anyone to not crack a smile with the opening musical number of “Happy all the Time” performed by Santa, played by A.D. Weaver, and Buddy, played by Jake Morrissy, along with the hilarious ensemble cast. As the musical progressed, the familiar story came to life in a new way, with clever dialogue sprinkled with double entendres and fantastic recreations of the Elf storyline with musical numbers like “Sparklejollytwinklejingley” performed while Buddy and the cast members decorate the department store for Santa’s arrival. There were beautiful songs like “A Christmas Song” where Buddy’s reluctant Christmas-hating love interest Jovie, played by the incomparable Juanita Anderson finds Christmas cheer by signing loud for all to hear. There are also sweet surprises like the number “I believe in you” wear Emily Hobbs, played by Melodie A Betts, and Michael Hobbs, played by Gabriel Solis, a Christmas letter to Santa asking nothing more than the attention of a father and husband, Buddy’s dad Walter, played by Sean Fortunato. 

Why Elf of all the holiday movie options? I think Elf-the Musical Director Lynne Kurdziep Formatp says it best "after two full Christmas Holidays missed due to COVID pandemic, with inflation, hurricanes and war in the news on a daily basis, it seems the PERFECT time to be reminded that we need to continue to BELIEVE. We can be a light in the world by sustaining the Christmas spirit year-round as we remember that family, friends, people of all ages and backgrounds are what makes the world go round."

This Christmas, and future holiday seasons, will have families, musical theatre, and holiday lovers flocking to the theatre with this soon-to-be holiday favorite. Because even after nearly 20 years, the classic story of Buddy the Elf brought to the stage truly captures the holiday spirit; and perhaps this musical proves Buddy and Santa’s elves are right, that “the best way to spread Christmas cheer is singing loud for all to hear.” Elf the Musical is playing at the Drury Theatre in Oakbrook through January 8, 2023. Tickets are available at www.drurylanetheatre.com.

Ken Ludwig has adapted the beloved Agath Christie whodunit 'Murder on the Orient Express' in a rich and wonderful way. The play revolves around the murder of a wealthy businessman aboard a luxurious train. Detective Hurcule Poirot is on the case and there is no shortage of suspects aboard the Orient Express. 

I know a murder mystery by Christie is done really well when I can not remember how it ends even though I may have seen the play countless times, and that is exactly how Drury Lane's production had me - on the edge of my seat desperately trying to guess who the murderer was the entire time!

Going in, I had concerns about how the train and its movement would be represented, but all were dismissed the minute Andrew Boyce’s scenic design was revealed in a series of spectacularly luxurious and well lit projections by Anthony Churchill in train compartments that started revolving on the stage. The audience gasped and applauded for each one and the projections of snow and other movement in the windows of the train was really a fun and exciting way to recreate the movement and style of the sumptuous Orient Express for a live audience. 

This was a true ensemble cast with solid performances all around. 

Of course Larry Yando (Poirot), a mainstay of Chicago theater, was the heartbeat of this classic production and the audience hung on his every word. Yando's parting speech wherein he ponders the  philosophical correctness of his part in solving the mystery was Tony worthy, and though brief, really ended the play on a genuine note of sympathy with all of the depth and emotional honesty one would expect from such an accomplished actor. 

Janet Ulrich Brooks as Helen Hubbard was pure delight in this show as she plays a brassy American with such great physical comedy and impeccable comedic timing that every scene she appears in draws laughs and comparisons to great comedians like Lucille Ball and Phyllis Diller. 

I also thought Sean Blake as the young lover with a thick scottish brogue was very funny and got laughs out of lines that otherwise would have been throwaways to a less talented actor. 

Yes, there was a bit of a slow start in getting the action and dialogue moving but I think the actors were trying to wring every bit of humor out of each moment onstage and the whole flow of the show got going at a nice pace once the opening night jitters were quelled by the enthusiastic audience response.

I can highly recommend this exciting and suspenseful production to audiences of all ages to enjoy a real night at the theater with beautiful costumes, ingenius stage settings and the ensemble of mature and very gifted actors all giving their best performances at the lovely Drury Lane Theater.  

‘Murder on the Orient Express’ is being performed at Drury Lane Theater in Oakbrook through October 23rd. For tickets and/or more show information, click here.  

“Camelot” being presented at the lovely Drury Lane Theatre in Oakbrook had an interesting twist to it.  If you've viewed other Camelot versions such as the enchanting animated “Sword and the Stone”, or the impacting dramas

“First Knight” or “Excalibur”, then be ready for a unique mix of both.  The production opened with a young King Arthur conversing with Merlin, his mentor and friend.  Merlin portrayed by Jonathan Weir was witty and engaging as he and Arthur bantered back and forth in the forest.  Quickly the audience was laughing at Arthur's antics, played by Ken Clark, a seasoned performer.

The introduction of Lady Guinevere (Christy Altomare) to Arthur evolved quickly and in a blink of the eye they ruled as the King and Queen.  The scenes and time frames were a bit blurred, and I caught myself wondering what was happening several times.  An example was when Mordved played by Patrick Rooney was on the stage. Suddenly the adult son of the King appears and a large gap of time has elapsed.  When I caught on to who Mordved was, even while following closely it was hard to understand why he and his father seemed at war with one another.

Early on Lancelot (Travis Taylor) beseeched King Arthur to allow him to serve the throne sacrificially and faithfully. Being a warrior, attractive and kind man he secretly won the heart of Lady Guinevere.  During a heartfelt moment Mr. Taylor wowed the crowd with his voice after an encounter with his love, who of course belonged to another.  I would have loved to hear more songs bursting out, but the musical flavor in this performance could only be described as 'song speaking'.  No doubt Ken Clark and Christy Altomare did this beautifully throughout the performance and their interaction with one another was engaging.  Allowing my imagination to veer from what I perhaps expected, I needed to allow room for a different type of portrayal of the King.  

Although a good, fair and wise King, his manner more often than not, seemed a bit naive or it lacked an authoritative stance.  Yet because of this, one scene stood out like no other!

'The atmosphere was sober.  The King was honoring his worthy knights, Lancelot being among them. As Lancelot stepped forth to bend his knee before his King, it was as if the scene was in slow motion. Arthur wrestled with his emotion and anger, knowing of the stifled relationship that Lancelot and Guinevere desired.  Quickly a picture of this Knight's demise entered his mind's eye.  Just as quickly the man he'd become was victorious as he took his sword, and placed it on Lancelot's shoulder.'

It was stirring and well done.  King Arthur's declaration of integrity and strength revealed the truth of why it was his destiny to rule over a people!

The costumes and the manner in which the whole cast portrayed themselves was extraordinary for this era from the hair styles to the magnificent sword fights.  'Camelot' definitely was enjoyable and entertaining despite the incites I mentioned above.  

Camelot will be playing until January 4, 2015, so invite your friends and family.  For more show information, visit www.drurylaneoakbrook.com.

It is with high recommendation that I urge theatre goers and entertainment seekers alike to take in Drury Lanes’ production of the beloved classic, Les Miserables, in celebration of their 30^th Anniversary. Multi-Jeff Award winning director of the production, Rachel Rockwell, stuck adamantly to the original storyline and stayed true to the musical score in its’ entirety.  This production lacked nothing as far as preserving the integrity of Alain Boublil and Claude-Michel Schonberg’s classic musical depiction. The incredibly moving score originally orchestrated by Boublil, Schonberg, Herbert Kretzmer and Jean-Marc Nate remained unaltered and was exceptionally directed by Roberta Duchak. This is very good news for anyone who hasn’t yet had the privilege to witness this definitive story performed live on stage and those who have alike.

Drury Lane Theatre is an impressively extravagant venue and very comfortable. As far as the stage and presentation, the setting seemed minimal, which I liked. Incorporating a minimalist display allowed for near seamless transitions in between scenes. Each prop, carefully placed, certainly carried a quality touchstone appearance (thank you Scott Davis), only adding to the authenticity presented in each scene. At times, I felt the projection on the backdrop was lacking in detail, though it did not take away from the immersive special effects used throughout the performance, including lighting design that offered remarkable focus and some very impressively choreographed slow motion dramatizations. Overall, the production value was sufficient, though not mind-blowing.

The performance was nothing less than should be expected for such a prestigious act and in such an esteemed venue, often exceeded expectations. Lead role and casting director Ivan Rutherford who has performed the role of Jean Valjean more than 2,000 times on Broadway performed flawlessly. The range of highs to lows that complemented each musical number in his every appearance was only matched by the array of emotion displayed in his moving performance. Quentin Earl Darrington portraying lawman Inspector Jabert, blew the audience’ mind with his powerful vocals and dedicated performance. One fan admitting after the show “He sent chills through my body”.

The audience was moved (some justifiably to tears) by the role of Fantine compellingly performed by Jennie Sophia. I would have liked to of seen more of the beautiful Emily Rohm (playing Cosette). Her fragile character will always personify the only true purity within this tragic tale.

Of course some performers did a great job adding humor to balance the tragic nature of this story. Performers Mark David Kaplan and Sharon Sachs playing Thenardier and Madame Thenardier (Cosette’s underhanded guardians) continuously left the audience in an uproar of laughter. Their performances added great comic relief and expressively portrayed characters that I truly loved to hate. But the truest and most delightful experience for me and many others was the perfectly cast Matthew Uzarraga. While performing the role of the young and fearless revolutionary Gavroche, Uzarraga lifted each and every spectator’s spirit. I even caught some of the other stage performers falling out of character and lighting up in his presence. To a truly fearless performance, hats off to you sir, you’re gonna go far.

This is definitely a show worth seeing for fans of Les Mis and for those unfamiliar alike. If you’re a fan of theatre, you will absolutely enjoy this production. Very well done.

Les Miserables is playing at Drury Lane Theater in Oakbrook through June 8^th. To find out more information on this show, visit www.drurylaneoakbrook.com or call 630-530-0111.