Jackson Doran, JQ Postell Pringle/Photo: Michael Brosilow
Recently a friend asked me what my favorite show of 2014 was. I didn’t have a good answer for him. This has a lot to do with the fact that I see more shows than the average theatergoer (complimentary tickets make it pretty easy) and so my mental rolodex is pretty stuffed. But a part of it is that the sheer number of pretty good to pretty bad to pretty mediocre shows can make it hard to differentiate. I can’t recall the diamonds because my brain is so full of rough. These are shows that, regardless of quality, feel like shows that are being done because, well, because a show “needed” to be done. Everyone performs the duties required of their job description—including the audience members—and the whole thing feels like work. Not “work” as in it seemed especially difficult, but “work” as in it’s something you do not because you want to but because it has to be done.
“A Q Brothers’ Christmas Carol” is not one of these shows. It is, in fact, the polar opposite. It is seventy-five-minutes of pure, unadulterated joy. If I could turn in a review that was just 500 smiley face emoticons, I would. That is both what the show is, and how it made me feel. Read the rest of this entry »
Danni Smith, Christina Hall/Photo: Adam Veness
Patsy Cline was a true country gal. Born and raised in Virginia, she began entertaining at a young age. Some accounts say she started performing for friends and family by the age of three. Her sultry voice, spiced with hints of Southern twang, are unmistakable staples of some of her biggest hits, such as “Walkin’ After Midnight.” It is her genuine southern charm and her bona fide essence that “Always… Patsy Cline,” directed by Fred Anzevino, at Theo Ubique Cabaret Theatre aims to capture.
The show features more than twenty of Cline’s recordings, including “I Fall to Pieces,” the 1961 single that landed her on the top of Billboard’s Country chart. Cline’s biographical story is told through the eyes of Louise Seger (Danni Smith), a fan who befriended Cline at a show in Houston. Seger and Cline (played by Christina Hall) remained friends until Cline’s tragic death in 1963.
The best moments of the show happen when Smith and Hall interact. They seem to get along like old friends and play precisely to the type of relationship Cline and Seger apparently shared. Individually, Hall’s voice is strong, but doesn’t quite capture Cline’s down-home country contralto. However, she does certainly look like Cline and does the songs justice by embracing their emotionally charged lyrics. Smith on the other hand, who mostly narrates between numbers, definitely embraces the Southern atmosphere brought to life on set designer Adam Veness’ wooden, Opry-esque stage. Read the rest of this entry »
Shuler Hensley and Presley Ryan/Photo: BlueMoon Studios
As a first time Broadway-esque experience, this year’s iteration of “Dr. Seuss’ How The Grinch Stole Christmas! The Musical” performs its duties with enough pleasing flair and upright enthusiasm to charm its young audience into a return trip to the box office. For the nostalgic chaperones in tow, however, the show might disappoint.
The primary thrills are here: a perfectly frumpy, frothy Grinch with his fur extending six inches beyond his fingertips, the bump and wriggle of the candy-colored Whos and a set with silly psychedelia bending before the eyes. Timothy Mason’s book and lyrics and Mel Marvin’s music are suitably woven with Seuss’ intention, if not his joviality, but this is of minor concern. The kids came for the Grinch, after all.
And what a Grinch they get: Tony Award-winner Shuler Hensley (“Oklahoma!”) is delightfully devious, with a sufficient growl to spook the youngest audience members and enough broad pluck to rope in parents. Aleksa Kurbalija, as a highly animated young Max the Dog, is a standout, full of physical wit and charm. Ken Land ties it together admirably as Old Max, in his tattered fur suit, reminiscing about the Christmas that changed Whoville. Read the rest of this entry »
Sarah Danielle Hoch and Jomar Ferreras
Wouldn’t it be great if there were a book that provided all the dos and don’ts to loving the single life? Wouldn’t it be nice to have a book about dating that everyone could read so there would be no harm to anyone’s emotions because everyone knows the rules and plays by them? Wouldn’t that be fantastic? Maybe. Unless, those darn things called “feelings” got in the way. “The Guide to Being Single,” a new musical by Kaitlin Gilgenbach (book) and Alexi Kovin (music and lyrics), aims to ask and answer those exact questions.
The show is set in Wrigleyville, one of Chicago’s most bar-lined neighborhoods. Six friends Jackie (Sarah Danielle Hoch), Heather (Miki Byrne), Zack (Jonas Davidow), Derek (Jomar Ferreras), Liza (Kelsey Burd) and Stacy (Juanita Andersen) have all discovered a new book promising that, by following the simple rules given, singles can enjoy “screwing without getting screwed.” Rounding out the cast is Chad Michael Innis who plays a bartender, cab driver and bar goer, among other roles. Read the rest of this entry »
Jonathan Weir and Ken Clark/Photo: Brett Beiner
If you are a fan of the golden-age of musicals, if you haven’t been able to give up your LP of the original cast recording of “Camelot,” with Julie Andrews’ soaring soprano seeming to possess no register changes and making every word clear as a bell while spinning silvery phrases, Robert Goulet’s burnished baritone ripping your heart out as the knight who couldn’t leave, and Richard Burton, speak-singing his way through the pivotal role with a purr, saving his full-throated magnificence for hurt and fear, and if you are willing to accept the challenges of over-long choral numbers telling stories of events happening off stage, and an awareness that some beloved music had to be cut after the show opened for the audience’s (and the player’s) bladders not to burst in exchange for simple joys, then director Alan Souza’s production at the Drury Lane Theatre will make you weep in the wrong way, and you should stay home, put on that old LP, and let Julie save you. Read the rest of this entry »
Someone at the money-making end of the performance rights for the Maury Yeston/Peter Stone musical “Titanic” has come up with more room in their pockets than seemed appropriate, and arranged for a “new, intimate” re-working of the musical’s epic tale of oceanic disaster to make it possible for companies who can’t budget for entire herds of actors, a full orchestra and an onstage ocean liner that can disappear and then return for the finale to afford to mount the piece, and give an acceptable rendering of its story-and-song so “Titanic” needn’t go the way of the almost un-producible “Sunset Boulevard.”
Griffin’s production does much with little. There is no pretense of a boat. They make do with a high platform, two moveable sets of stairs, and a ship’s steering wheel. The lack of spectacle allows the audience to focus on the collapse of the class system when the overzealous and the under-focused leadership of the vessel allow it to crash into an iceberg. And the music, of course. Yeston can spin a lush melody with his particular branding; on the hearing of two phrases, three at the most, one can usually name a song as Yeston’s. Yet each soaring moment is uniquely tied to a character and a situation. Read the rest of this entry »
There are those who may grouse at the remounting of the Rodgers & Hammerstein musicals that paved the way for J.R. Brown, Guettel and Sondheim. But “South Pacific” won’t go away, no matter the amount of hair-washing. There will continue to be corn-filled, beautiful mornings, and a tinkley tune set in 3/4 time, slowly swelling in orchestration and tempo until we remember our first carousel ride is not disappearing any time soon.
And just why might that be, you Grumpy Gusses, longing for louder percussion and more overt hurt? Is it the melding of perhaps overly romantic lyric to hummable melody? I won’t pretend that has nothing to do with the equation; we do like to leave the theater humming, Jason, and be able to recite at least a phrase or two of the lyrics, Stephen. But let’s look for just a moment at the themes of the pieces these two giants wove, subtly, into their effervescent canon, in light of the times in which they lived. They chose material that, in lesser hands, might have been considered too subversive to survive at the box office. Read the rest of this entry »
by Raymond Rehayem
Some folks wanna rock. Some folks wanna white Christmas. Dee Snider wants to spread rocking yuletide cheer.
“Dee Snider’s Rock & Roll Christmas Tale” debuts this season here in Chicago, where we rock year ‘round and where last winter resembled Santa’s polar headquarters. Best known as the singer and leader of the eighties heavy-metal hit-makers Twisted Sister, Snider has built a diverse resumé, spanning music, radio, television, film and now, stage. Speaking to the amiable Snider, it’s clear he brings a great enthusiasm to all these disciplines, while never taking for granted his success in any field.
“When I went to write my autobiography, they didn’t want me to write it. They were like, ‘Just because you can sing doesn’t mean you can write.’ I said let me do a few chapters, and they loved it, so they let me write my own book. I’m blessed to have all those talents.” Read the rest of this entry »
Nathan Carroll/Photo: Allison King
Director Linda Fortunato and the cast of BoHo Theatre’s production of “Parade” know that the game is to tell a story. The trial of Leo Frank, an inveterate miscarriage of justice that caused a Jewish man living in Georgia to be tried, convicted and executed for the murder of a thirteen-year-old girl, the entire ghastly situation coated in lies and bribes and greed and the ready depersonalization of anyone considered as “other,” is a story indeed, a historical horror that should shake us into the realization that we watch this same sin committed again and again, while so few move a finger in protest. This cast-congregation preach the story like the revival meeting it is. Read the rest of this entry »
Stephen Sondheim’s long, lauded, and continuing career in the lyric theater has given opportunity for discovery as to his compositional demons, and the fire he uses to bully them into delivering meticulously melded words, married to inseparable pitch and rhythm. The combination of his music and lyrics fall on the ear as surprisingly as a secret newly whispered, and then sear immediately into memory, poetry that is exactly right; leave out one word or one pitch, and everything is lessened. The necessities for success, from start to finish, sit profoundly on the page. We have no reason to disbelieve his sharing in interview and print of the haunted, solitary process that drives him to agonize over every shred of text and melody.
In Porchlight Music Theatre’s mounting of Sondheim’s “Sweeney Todd,” there is much honor paid to the immaculate compositional construction that continues to make the piece a favorite. Musical director Doug Peck’s chorus blasts and floats the intricate harmonies and transgressive changes of meter flawlessly, racing about the stage delivering full-voiced Greek-chorus commentary while hauling furniture, adjusting flats, spinning the staircases of Jeffrey D. Kmiec’s sets, and turned out in Bill Morey’s period-perfect costumes.
But an accent coach is sorely needed to provide accents that ground us to place and time-period. Read the rest of this entry »