Displaying items by tag: Lorenzo Rush Jr

What first made its mark on Broadway ten years ago in November 2012, has now become a traditional holiday play for theater goers to attend – when it comes to town. Based on the mega-popular film, A Christmas Story: The Musical is regularly being mounted by theater companies come November for families to enjoy. Already well-equipped with the humor, timeless plotline and loveable characters from A Christmas Story, the musical adds to that by bringing in a massive selection of numbers written by Pasek and Paul (book by Joseph Robinette) that make this a big stage event that is sure to get everyone in the holiday spirit. And while so many films or TV shows don’t really translate to the live stage, A Christmas Story: The Musical does.

Based in Small Town, Indiana, the story revolves around a family in 1940, Ralphie Parker specifically, wonderfully played in this production by Kevan Newman (also played by Keegan Gulledge in alternating performances). Christmas is around the corner and all Ralphie wants is the Red Ryder Carbine Action BB Gun. But whenever he brings up the BB gun to anyone, he is promptly shut down and told “You’ll shoot your eye out,” repeatedly his hopes are dashed, but Ralphie can still dream. Ralphie gets a brainstorm when his teacher, Ms. Shields (fantastically played by Jenna Coker-Jones) hands out an assignment for her class to write an essay on what they would like for Christmas. Simple, Ralphie will write about the Red Ryder Carbine Action BB Gun, and everyone will be so impressed his parents will have no choice but to gen him the gun. Well, not so simple as a series of hilarious sequences take place and Ralphie’s Christmas plans are not looking so certain.

At the same time, Ralphie’s father cast as The Old Man and brilliantly played by Lorenzo Rush, Jr., has finally won a prize for his relentless efforts at a crossword contest (thanks mainly to the help of his wife deftly played by Sara Reinecke). The prize might not be close to the generous cash awarded for the top spots, but it’s a prize – and it’s his prize, and he couldn’t be prouder of his tacky lamp of which its base is that of a show girl’s leg. He places it so it is displayed in the home’s from window and he is the envy of his neighbors.  

That lamp is just one more reason for holiday cheer in the Parker household.

The dynamics of Ralphie and his family 1940’s living is just so enjoyable to watch and the surrounding characters in this funny musical have so much to offer. Seasoned actor, Kevin McKillip, narrates the story as a grown up Ralphie looking back and reminds us why he considered one of the finest stage performers in the Chicago area. His timing is impeccable. And going back to Coker-Jones, she is most certainly another one of the show’s standouts, while Lorenzo Rush, Jr. is a thrill to watch in just about every scene he is graces us with – and, wow, his singing voice!

Performed in the round at Marriott theatre, A Christmas Story: The Musical is a holiday hit that has it all. From its nonstop laugh out loud scenes to its big, colorful song and dance numbers to its warm and moving story at its core that centers around family, this is a sure-fire treat to add to this Christmas season’s to do list.

A Christmas Story: The Musical is being performed at Marriott Theatre through January 1^st. For tickets and/or more show information click here.

Drury Lane brings Alice Walker’ 1982 novel ‘The Color Purple’, which found major success as a film in 1985, to the stage in what is sure to be a memorable experience for theatre goers. After its opening night performance, many who had seen either the Broadway run or national touring version of the classic story, emphatically stated that Drury Lane’s production is the best they have ever seen. That’s saying something.

 
The story takes place in the early 1900’s and continues through about halfway through the century. Following the journey of Celie, an African American woman in the American South, we get a story of heartbreak, unspeakable atrocities and more importantly that of hope and perseverance. Still a child, Celie has two children by the age of fourteen – both by her father, Alphonso. Not long after her second child is born; her father tells Celie he is going to get rid of the child just like he did with the first. Celie’s only comfort is in spending time with her slightly older sister Nettie and the two vow to never leave each other’s side. 

But four years later, a local farmer, Albert “Mister” Johnson asks Alphonso to have Nettie’s hand in marriage. Alphonso refuses, but offers up Celie instead, who is constantly referred to as “ugly”. Mister doesn’t bite but finally accepts when Alphonso throws in a cow. Mister, who had helped Nettie pursue her dream of becoming a teacher, also takes Nettie in shortly after she pleaded to stay with him and her sister alleging Alphonso is mistreating her. Mister accommodates Nettie, but always having eyes for her, attacks her one day and when she fights back is sent away along with the promise the two sisters will never see each other again. Once again, Celie finds herself in what turns out to be abusive relationship with a much older man.

It seems hopeless for Celie until a racy lounge singer comes into their lives – Shug Avery.

From there the story takes on many directions and we wonder if Celie will ever see her sister again or be released from the clutches of Mister.

 
With an already powerful book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, the direction by Lili-Anne Brown and gifted cast assembled puts this production over the top. Eben K. Logan is stupendous as Celie in every way as we are hopelessly drawn into her character one moment and marveling at her vocal ability the next. Logan is a true find and leads this amazing cast that also features Sydney Charles who brightly shines as Shug Avery, Nicole Michelle Haskins whose moving portrayal of Sofia truly resonates and Melvin Abston who is nothing short of commanding as Mister. The cast rounds out with an incredibly skilled ensemble that features Drury veterans Adhana Reid and Lorenzo Rush Jr. along with Camille Robinson, Jos N. Banks and a host of other talents. Kyrie Courter is just wonderful as Nettie while Gilbert Domally’s Harpo couldn’t be better. 

Besides a powerful story that is sure to move its audience members, it contains one enjoyable musical number after another from its title song “The Color Purple” to touching numbers like “What About Love” and “Somebody Gonna Love you”.
Drury Lane’s ‘The Color Purple’ is engaging from beginning to end as it retells a classic story of strong will and courage.

Highly recommended.

‘The Color Purple’ is being performed at Drury Lane Theatre in Oakbrook through November 3rd. For tickets and/or more information, visit www.drurylanetheatre.com.  
 

Marriott Theatre brings yet another high-energy, song and dance production to its audience, this time mounting the regional premiere of ‘Holiday Inn’, a sentimental musical based on the 1942 film of the same name featuring the music of Irving Berlin and starring such great as Fred Astaire, Bing Crosby and Marjorie Reynolds. Directed and choreographed by Tony Award nominee Denis Jones and musically directed by Jeff Award winning Ryan T. Nelson, ‘Holiday Inn’ might just be one of Marriott’s greatest triumphs over the past few years.

“I am completely elated to revisit my work from the Broadway production of ‘Holiday Inn’ at the Marriott Theatre,” says Jones. It’s an honor to celebrate some of the greatest works of Irving Berlin and join forces with some of the most talented actors in theatre. With mesmerizing costumes and equally enthralling performances, audiences will leave with a few holiday surprises and a whole lot of holiday spirit.”

And though classics such as “White Christmas”, “Easter Parade”, “Blue Skies”, “Heat Wave”, “Be Careful, It’s my Heart” and “Shaking the Blues Away” are performed to perfection, it is the dance numbers in this production that truly steal the audience’s breath.

Jim Hardy (Michael Mahler) and Ted Hanvover (Will Burton) are best friends. The two entertainers have found a tremendous amount of success in New York as a song and dance trio that also stars Lila Dixon (Kimberly Immanuel). Lila and Jim are also quite the item and Jim wants nothing more to marry her. But the New York scene has run its course with Jim, so he also wants to hang up his tap shoes and take to the country. He proposes to his Lila, who accepts, and then shows her the deed to a farmhouse in Connecticut that he has just purchased in the hopes she would also want to give up show biz for a quiet life in the country. So, maybe he should have discussed such a major decision with Lila prior to making such a large purchase. When the three are offered a six-month touring engagement, Lila breaks Jim’s heart and hits the road with Ted. So it’s off to the country, alone, for Jim.

Dejected, Jim soon arrives at his newly purchased farmhouse ranch only to find Louise (Marya Grandy), a self-proclaimed “fixit man”, kind of comes with the house. In exchange for room and board, Louise will tend to the farmhouse but her title of “fixit man” extends much beyond the home itself. It isn’t long before the daughter of the previous owners, Linda Mason (Johanna McKenzie Miller), stops by to pick up some of the things that were left behind when the farmhouse was foreclosed upon. It isn’t long before a friendship develops and perhaps a spark ignites between them. It also isn’t long before Jim realizes farming might not be for him and longs for the stage again. And, as it turns out, Linda just so happens to have some performing experience of her own. But why go back to New York when you can bring New York to you? Just after Jim gets a surprise visit from a large group of performing friends, he comes up with the idea of turning the farmhouse into an entertainment getaway. After all, he’s got the floor space and plenty of rooms for guests. When his performer friends cannot commit to regular shows because of their own hectic schedules, it is decided shows will only be staged over the holidays – thus, ‘Holiday Inn’.

As chemistry builds between Jim and Linda, a drunken Ted reappears during opening night who briefly dances with Linda and soon has his sights on her as his new dance partner since Lila has left him for a Texas millionaire. Jim quickly finds himself in a similar situation, so we can only hope things will turn out differently for the all-around nice guy who may have found love once again.

‘Holiday Inn’ is filled with big, spirited dance numbers that are pure visual delights and the highlights are many. Will Burton’s recreation of Astaire’s “Let’s Say it with Firecrackers” is certainly one of them as he brilliantly taps his way around the stage with a bang – several bangs in fact. Johanna McKenzie Miller also leaves a strong impression, beautifully showcasing her amazing voice in such songs as “Nothing More to Say” and “White Christmas”. And throughout the talented dancing and singing offered in this production, Marya Grandy balances out the show with her incredibly funny performance as Louise, adding plenty of laugh out loud moments. A world-class ensemble that includes the familiar faces of Joe Capstick, Adam LaSalle, Laura Savage and Alejandro Fonseca pushes this musical into overdrive, while Lorenzo Rush Jr. as agent Danny Reed is a pleasure to watch in every scene he graces and child actor Patrick Scott McDermott also adds several moments of well-delivered humor.

Marriott Theatre presents a gem of a holiday treat that can be enjoyed by everyone. ‘Holiday Inn’ runs through January 6th and is highly recommended. For tickets and/or more show information visit www.MarriottTheatre.com.

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.

The live sounds of 30’s and 40’s jazz transform Court Theatre into a music venue in this production of Five Guys Named Moe. Written by Clarke Peters and directed by Resident Artist Ron OJ Parson, with Music Director Abdul Hamid Royal and Associate Director Felica P. Fields, this lively musical is a tribute to the great songwriter and saxophonist Louis Jordan (1908-1975), who went down in history as an innovator and popularizer of “jump blues,” a dance forward mix of jazz, blues and boogie-woogie, that paved the way for rock’n’roll in the 1950’s.

The uncomplicated plot provides the perfect canvas for Louis Jordan’s greatest hits and goes something like this: Nomax (Stephen ‘Blu’ Allen) is a clueless but perfectly lovable young lad who is broke and heartbroken because his girlfriend left him. Drinking at home one night and listening to Louis Jordan’s hits on the radio, depressed Nomax is whining about his life, when out of the blue (no pun intended) his radio erupts with five guys, who climb out one by one, introduce themselves as Big Moe (Lorenzo Rush Jr), Eat Moe (James Earl Jones II) , No Moe (Eric A. Lewis), Four-Eyed Moe (Kelvin Roston Jr), and Little Moe (Darrian Ford), and get the party started with ‘Five Guys Named Moe.’ Because five heads are better than one, The Five Moes are very helpful in trying to solve Nomax’s lady problem; the dynamic and superbly fun hits “I Like ‘Em Fat Like That” and “Messy Bessy” are prove of that. Not to mention “I know What I’ve Got” and “Safe, Sane and Single,” which were outstanding. Louis Jordan’s use of comedy in his songwriting had become one of the most prominent elements in his music, for he “laughed to keep from crying”. Besides, having been married five times, he most certainly contemplated the relations between the opposite sexes in his own life.

There was some great talent on that cleverly designed stage made to look like inside of an old radio (scenic design by Courtney O’Neill). Powerful voices, the most remarkable of them Darrian Ford’s [whose new original vocal jazz album, The New Standard, is set to release later this year], impressive dancing with occasional somersaults thrown in for a good measure (by James Earl Jones II), Lorenzo Rush, Jr’s commanding presence and hilarious relic, always on.

The band is no slouch either: led by the pianist/Music Director, winner of the NAACP Image Award for Broadway’s Five Guys Named Moe composer/arranger Abdul Hamid Royal, who had worked with many recording artists, such as Liza Minelli, Stevie Wonder, Natalie Cole, and Christina Aguilera, to name just a few; it produces a tight sound.

By the end of the First Act, the audience is playfully forced to sing the silly lyrics to “Push Ka Pi Shi Pie,” and some fortunate first row attendees are dragged onto stage to dance with the cast and then led to the lobby bar. Hey, “What’s the Use Of Getting Sober?”, right?

Second Act takes us to The Funky Butt Club, where the Five Moes have a gig to do. The sounds of old jazz are like an anti-anxiety remedy, taking us to a different time far, far in the past, it seems. What great 63rd Season opener for Court Theatre! “Five Guys Named Moe” is being performed at Court Theatre through October 8th. For more show information visit www.courttheatre.org.

*Now extended through October 15th

Of the many Andrew Lloyd Webber hits, Jesus Christ Superstar has always been a personal favorite of mine. It rocks, it moves and…it’s back. After a lengthy absence, the award-winning musical has returned to the Chicago area, this time with a bit of a twist as, unlike past productions, the show features an all African American cast. This, opposed to the nearly all white cast complete with a black Judas that we are accustomed to seeing. And, the tremendously gifted cast works so very well in this revival piece. The change is bold and should be commended. And the execution is nearly flawless. 

With one of the greatest rock operas of all time currently finding its temporary home at Aurora’s Paramount Theatre, we know by the end of the production’s first number, “Heaven on Their Minds”, that Mykal Kilgore, who takes on the demanding role of “Judas”, is a special talent. We also get an idea within the next few numbers (“What’s the Buzz?”, “Strange Thing, Mystifying” and “Everything’s Alright”) how deep the talent pool goes in this one-of-a-kind production.  

Reliving the last days of Jesus Christ leading up to the crucifixion, the timeless musical, which premiered on Broadway on October 12th, 1971, is set to the music of Andrew Lloyd Webber with lyrics by Tim Rice, in what began as a rock opera concept album by the two in 1970. Since, it has been one of the most successful musicals of all time gathering a loyal fan-base from all over the world. In Jesus Christ Superstar, we visit Jesus, accompanied by his disciples and Mary Magdalene, as he performs miracles and brings hope to the world while claiming he is the son of God, much to the chagrin of the Pharisees and scribes who see him as a threat to their teachings – a threat they would like removed so much they ask the Romans for help.

In Paramount’s current production of Jesus Christ Superstar, a fifteen-piece orchestra paves the way for the talented performers who leave their mark in one number after another. Kilgore goes on to navigate through each song with skilled precision and sings with amazing depth. And while Kilgore impresses more and more as the show progresses by staying true (and then some) to the “Judas” that both Murray Head and Carl Anderson made famous, Felicia Boswell is also quick to excite the audience with her moving interpretation of Mary Magdalene, particularly in the popular “I Don’t Know How to Love Him”. Beautiful, graceful and vocally dynamic, Boswell brings a gentle warmth to the role, wonderfully capturing the love that Mary had for Jesus. Throughout the production, remarkable performances are abundant with Rufus Bonds Jr. taking the reins in a very commanding depiction of Pontius Pilate, so well delivering the message of his conflict to have Jesus crucified at the request of the mob that is influenced by the religious law makers or to set him free since no Roman law has been broken. Lorenzo Rush Jr. also leaves a strong presence as the baritone-wielding Caiaphas who leads the charge against Jesus, fearing that he will revolutionize Jewish law. 

Jesus of Nazareth is commendably played Evan Tyrone Martin. Martin aptly captures the virtue and charisma needed for the role of and is convincing while conveying just how tiring it can be to be the son of God. Martin’s voice is strong and he has little trouble carrying the many challenging melodies that come with playing Jesus, though the patented screams that both Ted Neeley (film version) and Ian Gillan (concept album) had incorporated into the role were absent, leaving a couple prime crescendo moments to the wayside. Still, Martin holds his own, even getting a much-deserved extended applause after his riveting performance of “Gethsemane”, a powerful number where Jesus questions why it is that he must die. 

The show’s ensemble is nothing short of amazing, the actors changing back and forth from disciples, to Pharisees to lepers to soldiers ever so efficiently. At one point, Mark J.P. Hood breaks rank from the ensemble as Simon and superbly performs one of the show’s highlight numbers “Simon Zealotes”, where he praises Jesus and urges him to build an army to fight the powers of Rome. Another crowd-pleasing moment (among the countless others) occurs when Jesus is brought forth to Herod (Avionce Hoyles) in a glittery display that dazzles in the somewhat jazzy “Herod’s Song”. Kudos to Hoyles who thrusts the role of Herod into another stratosphere.     

Paramount’s Jesus Christ Superstar is a fascinating production that entertains nonstop from its opening overture to its near-finale number “Superstar”. Featuring a wealth of acting and singing talent and a rockin’ orchestra that does the soundtrack right, this could possibly be one of the most polished, expressive and enjoyable musicals to come our way in some time.  

Superb. This beautiful production is super recommended.

Magnificently directed and choreographed by Ron Kellum with music direction by Tom Vendafreddo, Jesus Christ Superstar is being performed at Paramount Theatre through May 28th. For tickets and/or more show information click here.