Displaying items by tag: Alan Menken

Music Theatre Works’ Little Shop of Horrors, featuring music by Howard Ashman and a book and lyrics by Alan Menken, is the ultimate Halloween and fall musical for cult hit fans. This spooky, yet fun production captures the essence of the beloved story, making it a must-see for the season.

It all began in 1982 when the off-off-Broadway performances first took place, before moving off-Broadway to Orpheum Theater. But most probably remember the 1986 film adaptation of Little Shop of Horrors, directed by Frank Oz and based on the off-Broadway musical, starring Steve Martin, Rick Moranis, Ellen Greene and Vincent Gardenia. The musical centers on Mushnik’s Flower Shop, a struggling business in a shabby neighborhood. Here, Seymour, a nerdy employee, discovers and nurtures an alien carnivorous plant, which he names Audrey II, after his co-worker Audrey, who he is crushing on. Driven by his love for Audrey and the desire to boost the shop's dwindling sales for Mr. Mushnik, Seymour helps the unidentified plant grow with steadfast dedication. Unfortunately, the food that the plant needs to grow is human blood, and the musical becomes a lesson in being careful what you wish for!

Kayla Shipman truly excels as Audrey. With her lovely presence and remarkable singing voice, Shipman captures the audience's hearts with her sweet and caring personality. This makes the revenge against her abusive, violent dentist boyfriend, Orin Scrivello, all the more satisfying. One of Shipman’s notable numbers is "Somewhere That's Green,” a touching ballad where Audrey shares her dreams of leaving behind her bleak, urban life. She envisions finding happiness in a serene, suburban setting with a home, a yard, and a family filled with love and contentment. This poignant moment unveils her vulnerability and longing for a brighter future. 

(L to R) Kayla Shipman and Jimmy Hogan in Little Shop of Horrors from Music Theater Works.

Jimmy Hogan portrays Seymour as a likable character who must muster more courage to handle the plant's demands. His grounded performance provides a perfect counterbalance to the rest of the cast's comedic extremes. Hogan really shines in his powerful number with Shipman, "Suddenly Seymour.” The song signifies a pivotal moment in Audrey and Seymour's relationship. Audrey comes to see that Seymour genuinely cares for her and offers a brighter future. It's a moment of revelation and reassurance, with Seymour vowing to protect her and demonstrating that she deserves love and happiness. Themes of love, support, and newfound confidence shine through in this heartfelt duet.

The plant comes alive thanks to Najee Musiq Rawls, who voices Audrey II and really impresses during “Feed Me (Git it!).” "Feed Me (Git It!)" is a crucial song in Little Shop of Horrors. Here, the carnivorous plant Audrey II insists on more human blood to grow stronger, luring Seymour with promises of fame, fortune, and love. This song spotlights Seymour's moral struggle, caught between his conscience and the plant's insatiable hunger, heightening the story's tension and propelling the plot forward.

Sam Nachison delivers a standout performance as Orin Scrivello, particularly shining in the number “Dentist!” This song, which hilariously recounts how his sadistic tendencies drove him to dentistry, showcases Nachison's talent and darkly comedic flair. The cast is bolstered by a talented ensemble who deliver strong performances in both dance and song numbers while Thomas M. Shea does an admirable job in his portrayal of store owner, Mr. Mushnik. The show gets an additional lift from its excellent set design, lighting, costumes, and puppetry. Music Theatre Works never fails to produce vibrant and captivating productions.

Although the set begins with a dark and somber feel, it brightens considerably with lighting effects and vibrant costume changes as Audrey II's fame and popularity grow, captivating audiences worldwide. The company excels in strategically staging this wild musical in the intimate North Theatre at the North Shore Center for the Performing Arts in nearby Skokie. 

Little Shop of Horrors is expertly directed by Producing Artistic Director Kyle A. Dougan, with choreography by Reneisha Jenkins and musical direction by Linda Madonia. I recommend this show for audiences aged 13 and over. Though an entertaining story with plenty of humorous moments, the themes in Little Shop of Horrors, such as domestic violence, a sadistic dentist who tortures his patients, and a plant that grows by devouring humans, are questionable for younger viewers, despite the show's renowned puppetry.

Music Theatre Works’ Little Shop of Horrors is currently being performed in the North Theatre at North Shore Center for the Performing Arts through November 17th. For tickets and/or more show information, click HERE. 

Disney’s 1991 Award-winning musical Beauty and the Beast was an instant hit. Its songs were memorable, and its story considered one of Disney’s best. With music by Alan Menken and lyrics by Tim Rice and Howard Ashman, a live musical took the Broadway stage in 1994 that successfully ran for thirteen years (Broadway’s tenth longest run) and has since been stage in theatres all around the world. Fairy tale lovers in the Chicago area now get their chance to see this highly acclaimed fantasy-musical once again, this time at Aurora’s Paramount Theatre, in what is truly a visually stunning, heart-warming and vocally charged adaptation of the modern classic. 

A spell is cast on a handsome prince that turns him into an unsightly beast after his horrible behavior and selfish ways have gone too far. He now lives in a dark mansion deep in the woods along with a once human staff that are slowly turning into household items - a candlestick, a clock, a dresser and a teapot. The more time that passes the closer each is to losing their human likeness altogether - forever. Only one thing can save them – should the beast fall in love before the last pedal of a magic rose falls, the spell would be reversed, and all would be come human again. But…the love must be returned to him. For a hot-tempered beast that lives hidden in the middle of a vast forest, this is much easier said than done.

 
Belle (Beth Stafford Laird) is a beautiful village girl who is courted by town hero Gaston (Emmett O’Hanlon) but she repeatedly fends off the egotistical hunter’s aggressive advances. But Gaston doesn’t give up so easily and he, along with his comical sidekick Lefou (Nick Druzbanski) are always scheming their next move. Belle’s kind-hearted father Maurice (Ron E. Rains) is an inventor whose keen ideas are often looked at as kooky by the fellow villagers. He loves his daughter more than anything but stumbles into trouble when he gets lost in the woods and Belle goes on the daunting task of searching for him on her own. After a series of happenings have the two crossing paths deep within the trees, Belle then Beast’s last chance for love before time runs out.

Paul-Jordan Jansen, who recently left a strong impression on theatre goers for his strong performance in Drury Lane’s ‘And Then There Were None’ is magnificent as Beast. His deep, strong speaking voice and precise annunciation of every syllable lends to his regal background, so we never forget who he was despite his beastly appearance. Jansen effectively delivers rage as well as he does tenderheartedness, making Beast a well-rounded counterpart to Belle. And Beth Stafford Laird is well cast as the musical’s leading lady, charming, warm and adventurous when need be, she so effortlessly captures the essence of our fairy tale Belle. Both Jansen and Laird complete the package also showing off their powerhouse vocals in many numbers throughout the show.

 
Though our leading characters are nearly flawless and are simply a pleasure to watch from scene to scene, the musical gets a lift from a very solid supporting cast. Emmett O’Hanlon’s rich baritone gives us a showstopping moment or two while he is also able to pull of the needed over the top cockiness that makes his role so humorous (Trevor Vanderzee will be playing the role of Gaston January 8th through 19th). Druzbanski as Lefou is just plain funny nearly every time he takes the stage while other notable performances would have to include Jackson Evans as Lumiere (the candlestick) whose comedic timing is just superb, Ron E. Rains as Maurice, the highly-imaginative inventor, and Becca McCoy who delivers big as Madame de la Grande Bouche, the former singing star who is slowly becoming a dresser thanks to the spell cast upon them. So many great performances grace the stage in this all-out production that includes an impressive ever-changing set, astonishing costumes and several memorable numbers including the instant classic “Be Our Guest”.

Directed and co-choreographed by Amber Mak, ‘Disney’s Beauty and the Beast’ is a colorful, exciting and thoroughly engaging adventure filled with fun surprises and outstanding vocal performances.

Recommended for theatre goers of all ages.

‘Disney’s Beauty and the Beast’ is being performed at Paramount Theatre in Aurora through January 19th. For more information visit www.paramountaurora.com.  

Murder in the streets, neighborhoods divided along racial lines, racial and ethnic slurs, glorified mob activities, wise guys, street fights and more. THIS is A Bronx Tale (the musical) on its first national tour after a successful 700 show run on Broadway.

Originally a one person play written and performed by Chazz Palminteri, A Bronx Tale is a 1960s coming of age story of a young Italian-American boy who is lured away from his honest, hardworking, baseball loving blue-collar family by the temptations and glorification of the local mob.

Billed as “a tale about respect, loyalty, love, and above all else: family” it is hard to ignore that the backdrop for the entire story is violence, racism, and dishonesty played to an upbeat, “feel good” doo-wop soundtrack. 

If you’re a fan of West Side Story, Grease, Jersey Boys and other similar stories, you will find A Bronx Tale enjoyable even if it follows a predictable story line where Good wins over Evil in the end. 

Featuring music by Oscar, Grammy and Tony Award winner Alan Menken, and lyrics by Oscar and Tony Award nominee Glenn Slater, the score is light, cheery, and optimistic as it keeps the story and the action moving. 

The design team earned the highest praise from this reviewer for both its authenticity and its simplicity. The set morphed almost invisibly from outdoor to indoor, day to night, without distraction. The choreography and blocking which incorporated set/prop movement was subtle and less intrusive than crew members moving around in the darkness trying to go unnoticed.

The overall performance was pleasant and but possibly a little flat according my row mates. With four of the five leads having performed as part of the original Broadway run, I may have expected too much. From my perspective the vocals lacked depth and at times the orchestra drowned out the vocals.

On a side note: Does every portrayal of an Italian-American have to include a Danny Zuko accent?

A Bronx Tale is currently being performed at Broadway in Chicago’s James M. Nederlander Theater for a limited engagement through March 24, 2019.

Catchy songs, hilarious characters and a man-eating plant. Little Shop of Horrors now playing at Drury Lane Theatre in Oakbrook has it all. With music by Alan Menken that fall in the style of 1960s rock and roll, doo-wop and Motown, we get a soundtrack that helps deliver this humorous story, perfectly enhancing writer Howard Ahsman’s vision into what became a stage and film sensation in the 1980s. Songs like "Skid Row (Downtown)", "Somewhere That's Green", and "Suddenly, Seymour" are as kitschy as they come as are the characters in this far-fetched, but seriously funny story.

We find ourselves in a local plant and flower shop – “Mushnik’s”. Business is bad and owner Mr. Mushnik is not sure how he can hold on for very much longer. His two employees, Seymour and Audrey, stand around all day with nothing to do since there is – nothing to do. But Seymour has a secret. He has been experimenting in the shop’s basement on a plant that resembles a Venus Fly Trap. But it is no ordinary fly-eating plant, it is much larger and quite unusual looking. He finally brings the plant upstairs and suggests it be placed in the store window to possibly attract passersby’s. Mushnik scoffs at the notion but figures he has nothing to lose – and wouldn’t you know it, a man enters the store within minutes to purchase a hundred dollars’ worth of roses. The plant becomes a sensation as it gets larger and larger by the day, business is off the charts and everything seems rosy for the once struggling shop. But what makes the plant grow so quickly? We soon find out and a whole world of absurdity and suspense is opened. Twists and turns ahead, folks.

At the same time, Audrey seems to show up to work each day with a new injury. It is suspected that her boyfriend, a sadistic dentist, is to blame – and Seymour won’t have that. He has a crush on Audrey and has in fact named the plant Audrey Two. As the story progresses, it becomes crazier and crazier – silly but engaging. A trio of talented singers (Melanie Brezill, Candace C. Edwards and Melanie Loren) help narrate the story, also switching back and forth between roles.

Will Lidke is terrific as Seymour and is as nerdy as one could get in the role while Kelly Felthous as Audrey nails the squeaky-voiced, ditzy blonde stereotype, ala many a Marylin Monroe role. Both deliver great comedic moments and are truly fun to watch. Ron E. Rains is well cast as Mushnik and has plenty of key moments, as well. But it is Chicago acting veteran Steven Stafford who steals many of the scenes as the abusive dentist (also playing many other roles), displaying epic comedic line delivery and perfectly timed physical humor. The voice of the plant (yes, it talks – and sings) is beautifully done by Lorenzo Rush Jr. while Matthew Sitz takes on the tough task of bringing the plant to life.

A light, though twisted, story with a slew of laughs and one likeable song after another is the prefect way to kick off the Fall season. Together with brilliant direction and choreography by Scott Calcagno and musical direction by Roberta Duchak, the musical’s superb performances and an amazing set design do this funny classic the way it should be done.

Highly recommended.

Little Shop of Horrors is being performed at Drury Lane Theatre through October 28th. For tickets and/or more show information visit www.drurylanetheatre.com.

Newsies, the Disney film from 1992 by Alan Menken (whose run around the same time of Little Mermaid, Beauty and the Beast, and Aladdin I’d put up against the work of any songwriter, on tape, on film, or on stage), was one I saw back when it hit VHS. But I don’t remember it too well. At least not the story. So, having not yet seen the Broadway adaptation of Newsies, I was curious to see if the Marriott Theatre’s production made more of an impression. And boy, did it ever.

The story’s still nothing that’ll make the “papes” (that’s what newsies call those inky, stinky things that used to provide the daily headlines), but I quickly realized we weren’t there for story. We were there for spectacle. And boy, did this production deliver.

In the round, the set is dominated by three steel girders that move to change the feel and figure depending on the needed background, but mostly harken back to turn-of-the-century NYC (partying like it’s 1899, not 1999), a city that’s growing and figuring it all out. So, too, are the newsies of the title, a pack of newspaper delivery boys of all shapes and shades and sizes, but who’ve got one thing in common – servitude to the media titans of the day. The story – one of standing up to the wealthy bullies who run things – is inspiring and as apt today as it was over a century ago, even if it doesn’t hold up to the spectacle. So let’s get to that spectacle!

Patrick Rooney as principal paperboy Jack Kelly works well as the lead. He’s got old-timey leading man looks and allure – “pizazz” they probably would’ve called it back in ‘99. And he’s got pipes, too, really letting loose on Menken’s “Santa Fe” to close the first act.

Jack’s fellow newsies have pizazz from the Bronx to Brooklyn, too. Athletes, all, they leap and bound, frolic and flip all across the square stage, charming the audience on all sides with spot-on choreography. Nick Graffagna as Davey looks and talks the part of a lad of that era, and Garrett Lutz’s bushy-haired Irishman does, too. Laura Savage and Adrienne Storrs as two newsgirls provide even more spunk and theater talent to the gang. And when the newsies storm the simple stage for ensemble numbers like “Seize the Day” and “King of New York” they make Lincolnshire’s modest forum seem simply metropolitan.

But from the get-go, the newsie who stands the tallest is young Matthew Uzarraga. As Crutchie, a disabled orphan armed with his namesake walking stick, Uzarraga first shows his skills when he joins Jack in harmony on an early take of “Santa Fe” – I’m a sucker for spot-on harmonizing, one of the things that’s hardest to do as a vocalist and when done right gives the listener goosebumps – giving me the chills. And throughout the show, Uzarraga’s crippled but plucky street urchin steals the stage whenever he’s on it, hobbling along happily and even bubbly and bright when consigned to a poorhouse bed.

My teen daughter, who accompanied me to the Marriott and who did catch the traveling cast of Newsies at the downtown Cadillac Theater a couple years back, said she enjoyed this production even more – delighted at seeing the footwork and old-timey fashions up close. So, too, did the rest of the audience – old and young, alike. So if it’s a story you’re looking for, I’ll tell you right now, Newsies is pretty much Annie, but with Worlds and Suns and Tribs instead of mops and buckets and baldheaded tycoons. But if it’s a show, a spectacle, you wanna see, then head to Lincolnshire for the Marriott’s production of Newsies, and pony up for the pomps and papes they’re sellin’!

For more show information visit www.marriotttheatre.com.

I have to admit Aladdin is one of my all-time favorite Disney films so I was very optimistic upon entering Cadillac Palace to see the stage version. Turned into a live musical in 2011, Disney’s Aladdin has landed in Chicago for a five-month run with over three million people having already experienced the production worldwide. My hopes were high. I wanted so much to enjoy it. I entered the musical knowing the characters and creative team had a lot to deliver in order to please me - and deliver they did! Bringing to life the classic tale of Aladdin, Princess Jasmine, Genie and the villainous Jafar, I am happy to say the stage adaptation of the popular musical is a full-on magical adventure that exceeds expectations.

Adam Jacobs in the lead role of Aladdin has a wonderful voice, excellent dance skills and a charming, bright white smile that reaches all the way to the audience members in the back balcony much to their delight. Jacobs has some real star quality developing, which is a pleasure to see. Adam Jacobs as the poor thief trying to win Princess Jasmine’s heart with three wishes from a genie, really resembles a young Matt Dillon for those who remember the handsome, spirited hustler in the popular film "The Flamingo Kid."

Perfectly paired with Jacobs, Isabelle McCalla plays Princess Jasmine with a sassy, feminist air that was both endearing and inspiring to young girls without seeming cloying or coy. McCalla also has a lovely, yet strong stage presence and a wonderful singing voice. Yet the key to a successful production of Aladdin depends on the strength of the wish-giving imp and in this case Anthony Murphy nails the role of Genie. Murphy is deliciously saucy and upbeat in his interpretation of Genie and has great physical comedy timing and brings with him some impressive dance instincts. 

The fabulous tunes of Aladdin penned by Alan Menken, Howard Ashman and Tim Rice are brought to life by this talented ensemble directed by Devanand Janki with an abundance of energy and infectious joy! 

The magic flying carpet scene is every bit as enchanting as in the film when Aladdin posing as a prince offers to free Jasmine from her castle tower where she has been isolated from seeing the daily life of the real world. Aladdin finally shows her “A Whole NEW World" with a stunning backdrop of night stars, which create an effective and truly romantic flying carpet special effect that makes both adult couples and children alike say, “Wow, that's beautiful!" 

I loved the way the book has been altered to include the idea that an arranged marriage is politically incorrect even if it is an arranged marriage to a prince. This is a very serious problem in other countries and I was very pleased that the writers made it clear to the young women watching the show that in the end even Jasmines' father, The King, was forced to change the law in order to make sure his daughter was married to someone she loved, regardless of his social standing - that it was her choice, not his. 

Brian Sidney Bembridge (sets), Jesse Klug (lighting) and Debbie Baer (costumes) each deserve their own round of applause for their amazing accomplishment in creating the truly golden treasure room and flying carpet effects along with the colorful, rich designs that captured and dazzled the eye in every scene.

I highly recommend this show for adults who’d like to go on a romantic date as it dreamy and fun while reminding us of the innocence of love. Aladdin is, of course, also a great production for young ones to see because, unlike in some children's theater, the characters are fully rounded and the entire spirited cast really delivers on their opening number, “Arabian Nights”, successfully projecting the feelings associated with the magic and destiny of Love that is caused by such wonder and delight! 

Disney’s Aladdin is running at Cadillac Palace through September 10th. For tickets and show information visit www.BroadwayInChicago.com. 

Inspired by the Newsboy Strike of 1899, “Newsies” uses the power of dance and song to tell the story of a group of teenagers and children who stand up to the powerful men running the newspapers of New York City, defending the rights of children workers everywhere. Jack Kelly is the leader of the “Newsies” gang, but dreams of a life out west far away from the mean streets of New York where he can focus on his true passion, art. When Pulitzer raises the price of newspapers, Jack rallies the rest of the “Newsies” across the city and fights back. With the help of an up and coming reporter, with an interesting heritage, the “Newsies” become front page news and fight for justice growing new friendships, strengthening old ones and also sparking a romance along the way.

From the opening number, through to the end of the show, “Newsies” is non-stop dancing and singing sensation. With a large ensemble cast and powerful choreography by Christopher Gattelli it creates a high energy atmosphere that sticks with you long after the curtain falls and the show is over. The dancing is continually moving across, up and over the entire stage, with dancers jumping, turning, flipping and of course tapping. Music, by Alan Menken, and lyrics, by Jack Feldman, capture the emotions and tensions of the “Newsies” echoing to the last row of the balcony, giving the audience chills. To top it all off, the set design, by Tobin Ost, is simple, but creatively flexible. Comprised of a few metal structures that stand 3 stories tall and can be moved and rotated, it created scenes that filled the stage and took the choreography to a whole new level. 

While this show is predominantly an ensemble show, there were some strong main character performances starting with Joey Barreiro as Jack Kelly. He captured the smooth charm of the character and followed it up with a strong singing voice and amazing dancing. Stephen Michael Langton as Davey is the perfect complement to Jack. And because no show is complete without a good love story, Morgan Keene as Katherine has great chemistry with Jack and brings some great girl power to a cast that is predominantly male. Steve Blanchard, as Joseph Pulitzer, plays a great bad guy, one you love to hate.

Overall, “Newsies” delivers a thrilling and adrenaline charged performance from the opening minute to the closing note. It never relies on sparkling costumes, fancy lighting but lets the singing and dancing speak for itself. And speak it does! The audience will fall in love with the characters, be wowed by the dramatic flips and perfectly precise choreography, and share in the emotional battle of the “Newsies”.

“Newsies” is playing at the Cadillac Palace Theater in Chicago, but be sure to get your tickets soon because it is only here for a limited time!