THE ADDAMS FAMILY at the Cadillac Palace Theatre

They're creepy and they're kooky...well sort of. In today’s world of odd families such as the Kardashians and the Osbournes one can't help but look at the Addams as almost any typical normal family out today and in the national tour that returns to Chicago after debuting here in 2010 it brings a feeling of closeness that was missing in the original production.

In the current version of the show Wednesday Addams, the ultimate princess of darkness played with comedic gloom by Cortney Wolfson is all grown up now and in love with a sweet, smart young man from a sadly respectable family played by Brian Justin Crum.

And if that wasn't bad enough Wednesday is feeling the growing pains that every child does and is losing the closeness she feels towards her mother Morticia played by Sara Gettelfinger who does everything she can trapped in a role that was created for Bebe Neuwirth. Now Gomez Adams must do something he's never done before – keep a secret from his his beloved wife. Everything happens to change though for the whole family on the fateful night that they host a dinner party for Wednesdy's “normal” boyfriend and his parents.

In the original production Nathane Lane who played Gomez made the role more about Nathane Lane playing Gomez and in the toru you get the impression that Douglas Sills has greated an original take on Gomez and supplied him with an exciting almost operatic voice that makes songs like “Trapped” and “Not Today” come alive and sound exciting. As mentioned above one feels for Ms. Gettlefinger a gorgeous statuesque actress who's saddled with a role that has a limited singing range and limited dancing due to the originator but makes the most of what she has in every way. Martin Vidnovic and Crista Moore as the boyfriens parents finally free of the squid storyline that plagued the original production are good though less steller then Terrence Mann and Caroleee Carmello who originated the roles. Blake Hammond as Uncle Fester gets the crowd pleasing and delightful “The Moon and Me” and is able to make it work by his voice and sweet disposition. As Grandma Pippa Pearthtree lacks any of the comedic force that original Jackie Hoffman had and it is notably absent.

It's interesting that after seeing the national touring production of La Cage aux Folles the week before the similarities within the script between shows an how each of them tackle the sitcom stylings of family disapproving of child's love and how everything’s overcome by a song and dance.

The show still feels like it needs a better storyline then they have given it and if the songs could be a little more original and distinct then they are it's surprising how well the actual show holds up with audiences. In today's age where we are presented with so many crazy television families that seems like they love the audiences more they love each other it's nice to spend some time with a healthy typical American family like The Addams.

THE ADAMS FAMILY is playing at the Cadillac Theatre through January 1^st and for more information on tickets, visit www.BroadwayInChciago.com

La Cage Aux Folles at the Bank of America Theater

At one point late in the second act of Jerry Herman's and Harvey Fierstein's “La Cage aux Folles” one of the characters shouts out Homosexuals to the two leading characters the effect is supposed to be shocking. I'm sure when the show first opened on Broadway 1983 it was but in the recent tour that opened up Wednesday at the Bank of America Theater and playing a 2 week engagement the effect has become more muted and less shocking then it was when the show originally opened. It could do with the source material which has been covered everywhere from an Oscar winning foreign film, to several sequels, to a big box office smash remake “The Birdcage.” It could be that the subject matter has transitioned from being a gay “Guess Who's Coming to Dinner” to something that would fit in a half hour sitcom. I think the problem lies more in a by the numbers production that seems to borrow from other recent revivals for ideas.

However with all that said at the center of the show is a heart and soul about love, family bonds, and acceptance that is timeless and very hard to ignore even trapped in a production that could have been pulled together, walked though its paces and then thrown on stage for all to see.

La Cage Aux Folles tells the story of Georges, the owner of a glitzy nightclub in lovely Saint-Tropez, and his life partner Albin, who moonlights as the glamorous headliner Zaza. When Georges' son brings his financee's conservative parents home to meet the flashy pair and let's just say that madcap hilarity ensures!

The one thing this national tour has going for it is a sensational full out top of the line Diva performance by Broadway veteran Christopher Sieber as Albin/Zaza. Mr. Sieber channels everything into his performance playing the laughs at full hilt, the drama with complete conviction, and the

Albin's rejection with a pain that is both real and unbearable all the while belting out his showstoppers “Put a Little More Mascara On” and the showstopping anthem “I Am What I Am”. It's the type of performance that will bring fans all over the country to him.

Sadly the same can not be said by headliner George Hamilton who plays his role with a breezy attitude that almost comes across as sleep walking.

He does though posses natural chemitrsy with Mr. Sieber that makes one understand their relationship though when it comes to his music it became almost painful every time you realized he was going to slowly pace though one of Mr. Hermans's stunning ballad. World class songs like “Song on the Sand” and Look Over There” were given 15^th rate edition performances that belonged at an airport cabaret lounge.

The rest of the cast ranged from excellent Bernard Burak Sheredy and Cathy Newman as the in-laws the Dindon's to the adequate Billy Harrigan Tighe who is saddled with the role of the son Jean Michael but posses a serviceable singing voice to the way over the top Jeigh Madjus who seems

to have just been eliminated from RuPaul's Drag race right before going on stage.

The production directed by Terry Johnson who won a Tony Award for the revival really should be sending a bouquet of flowers to Sam Mendes and Rob Marshall for borrowing heavily on their concept for the smash revival of “Cabaret”. There were also traces if not full replications of Sweet Charity, and Kiss of the Spiderwoman in both design and choreography. Matthew Wright's costumes though we used to great effect and teetered the line from flashy to downright trashy which seemed right at home in this production.

At this point when you have a story as timeless as La Cage aux Folles is it might be better served with a show that isn't as dated as this particular production is and if its going to be that way then spruce and sparkle it up with an exciting cast and production around it.

La Cage Aux Folles is playing at The Bank of America Theatre, 18 W. Monroe from December 23rd, though January 1^st tickets can be purchased though the

website at www.broadwayinchicago.com

Marriott Theater: Irving Berlin's "White Christmas"

I was at the store today and found it
extremely odd that right next to all the Halloween candy and costumes
there were Christmas decorations out. In this seasonal mash up it
made me forget that from Halloween to Christmas there is still an
entire month between them. In the Marriott's production of Irving
Berlin's “White Christmas” that opened last night the thought of
that time period looms over an otherwise enjoyable production.

The show which played in an opulent but
hollow production that played at Bank of America theater last year
seems to have found the heart at the expense of the physical
production.

In the Marriott's production things Rod
Thomas and Andrew Lupp add warmth, charm, and robust singing voices
to their roles of Bob Wallace and Phil Davis. Mr. Thomas scores
particularly with the classic ballad “Count Your Blessings Instead
of Sheep” while Mr. Lupp leads a showstopping dance number to “I
Love a Piano.”

As the sisters Betty and Judy Haynes,
Stephanie Binetti and Tammy Mader sound beautilful together even if
their roles aren't as fleshed out as the men in the show.

In yet another scene stealing role
Alene Robertson proves that there is simply no one else who can
delivery a line with deadpan ferocity and still belt “Let Me Sing
and I am Happy”with power and her trademark gutso.

The rest of the cast handles the Babes
in Arms story of let's put on a show with comedic shots and great
dancing. The costumes done with the usual intelligence and style by
Nancy Missimi are excellent and the direction and choreography by
Marc Robin is nothing but first rate all the way.

Even though as the show ended and we
walked into the October night it still made you imagine that it was
winter time instead of fall.

For the Boys at the Marriott Theatre

Thanks for the memories seem to be the theme running though “For the Boys,” a new musical based on 1991 film which starred Bette Midler and James Caan that opened at the Marriott Theatre this past Friday night. Marriott is presenting the World Premiere of this musical and there are many things in this production there are also several things that one might wish had been explored a little bit more to eally provide a satisfying show. For the Boys follows the story of 1940s big-band inger Dixie Leonard played here with comedic ease and a big powerhouse voice by Michele Ragusa who along with America's premier entertainer Eddie Sparks played with comedic flair in a thankless role by Timothy Gulan,who became America's ouple entertaining the troops in times of war and peace.

Though out the 30 year time span we see Dixie and Eddie fight, joke, and sing a lot of songs together, the script is well put together provide character depth for the most part
and an abundance of some great liners. The role of Eddie Sparks seems to suffer however from the creators not knowing how to sculpt his journey along with Dixie, he's either a jerk or a great guy and at times both. It's hard for the audience to get behind him with an outline instead of an actual character. The other issue I had with the show was with all the time and energy devoted this could have been a great show with an original score. So much of the show seemed like it was willing to soar and then the music would start and the show felt grounded. The creators are smart to provide us with a classic score but with a story this rich and interesting it could
have been so much better with a score that was original and appropriate to the time otherwise it gives off a why bother feeling to the proceedings. The cast is excellent particularly Anne Gunn as Loretta Brooks, who opens the 2^nd act with a belty showstopper “That's Loyalty” and sparkles though out the show.
The direction and choregraphy by Marc Robin are top notch and the costume design by Nancy Missimi is at the usual top level. With all the time, energy, and talent put into this production its a shame that the same couldn't be done about creating an original score that could have made this production soar when at best it plays on
the ground.

For the Boys is playing at the Marriott Theater in Lincolnshire though October 16^th. Ticket prices
range from $41 to $49 plus tax and handling fees. Seniors and Students receive $5.00 off a full price theater ticket on Wednesday 1:00pm, Saturday at 4:30 p.m. And Sundays at 1:00 and 5:00pm. To purchase tickets with a major credit card, call the Marriott Theatre Box Office at 847.634.0200 or Ticketmaster.com. Visithttp://www.marriotttheatre.com/
for more information.

The Student Prince at LIGHT OPERA WORKS

In “The Student Prince” young love blossoms in Old Heidelberg as the betrothed heir to the throne goes off to a university, only to fall for a beautiful waitress in the local beer garden.

No this is not a plot to the latest National Lapoon film but actually the story that the 1924 Sigmund Romberg and Dorothy Donnelly operetta is based on and minus that small detail the rest of the show is structured with a glittering production by Light Opera Works that opened Saturday night at Cahn Auditorium and runs until August 28th.

In the German kingdom of Kalsberg, the young prince Karl Franz sung in glorious voice by William Bennett takes a year off from his impending marriage and ascension to the throne. In his travels he brings his lifelong confidant and educator, the kindly Doctor Engel, played by Bill Stone, who is the type of mentor anyone would want, who also happens to posses some power house pipes. Along for the ride and to the benefit of the production is Karl Franz's valet Lutz and his footman Hubert. As Hubert Mark Anderson has some delightful moments and would normally have much more singled out but opposite a scene chewing criminal such as Dale Benson as Lutz all is lost to him. A Chicago stage legend that I grew up with at the old Candlelight/Forum Theatre's Mr. Benson's knows just the right performing style for this type of show, taking each line and making it memorable. In the second and third act he's joined by Jody Goldman another pro at milking the right tone for these scenes, their work here a lesson in comedy.

In every Operetta there is a fiery soprano and here she is played by Danielle M. Knox, looking very similar to Chicago actress Susan Moniz, she inhabits here role with warmth and charm and enough trills to impress the audience. One wishes she was just a little bit stronger of a fiery presence to see why everyone in the town in captivated by her but those are small potatoes compared to everything. The other female lead of Princess Margaret is played with grace and dignity by Stephanie Stockstill.

The rest of the principals and large chorus handle everything with precision and ease from the 26 member orchestra that's conducted with expertise by Roger L. Bingaman, who makes you feel like he has a strong handle on some difficult music.

The pacing and the sequences of the show felt like they could have been snapped up a bit but overall the direction by Rudy Hogenmiller is solid, he also manages to pull off the difficult task of making a show that could be stuffy and slightly out of place and is able to make it entertaining and relate able to a contemporary audience.

It's interesting to note that the show was the longest running show on Broadway in the 1920s, beating the far more popular and much more enduring musical Show Boat. It's a joy that Light Opera Works took this piece on and presented it as its not done around here anymore and I commend them for putting together a wonderful production with some of the best resources at their disposal.

LIGHT OPERA WORKS presents The Student Prince Opening Saturday August 20^th and playing Sunday August 21^st at 2pm, Wednesday the 24^th at 2pm, Friday the 26 at 8pm, Saturday the 27^th at 8pm and Sunday the 28^th at 2pm. It's playing at the Cahn Auditorium at 600 Emerson Street, Evanston, Il with tickets on the Main Floor for $48, $68, $77, and $92, The Balcony for $32, $48, $68, $77 ages 21 and younger half price.

Tickets can be order by either calling (847) 869-6300 or though the website at http://www.lightoperaworks.com/

As a completely unrelated note I did keep thinking while watching “The Student Prince” how I would kill to see a production of Alan Jay Lerner and Kurt Weill's rarely done “Love Life” and possibly a revival of “Lady in the Dark” with Mary Ernster as Liza, other classic shows that bridge the gap from Musical Theater to Opera. I know Light Opera Works has tackled “Lady in the Dark” before but with America's obsession with exploring there dreams might off set the woman are only happy with the right man aspects. As “Love Life” a show that has been done only a few times spans the American Dream's 150 years, if they could at all pair that up with Leonard Bernstein's “1600 Pennsylvania Avenue,” another problematic show with stunning music, people from all around would come.

Kelly Clarkson review of leaked song's

Over this past weekend dealing with the lingering depression of having my identity stolen, yeah, sorry still can't let that go, getting another year older, which doesn't bother me except for the week before my birthday and then the week after and then I'm fine, and then being left alone after family leaves. I needed something to cheer myself up and early Sunday morning it came though the powerful sounds of The Lady Clarkson and some leaked new material from one of the greatest powerbelters ever! Ms. Kelly Clarkson, who besides being, so much more then the original American Idol winner is also one of the few artists who is able to transcend the style of music with just her voice alone. Doubt me if you will, but think about it, there are a lot of people who hate American Idol but still love Kelly Clarkson. There are people who will mock all the achievements from anyone connected to Idol but will still say that Idol found its one true superstar on the first season.

I will always have a special place in my heart for the following Idol women: Jennifer Hudson, Carrie Underwood, Katharine McPhee, Carly Smithson, Allison Iraheta, Crystal Bowersox, and Haley Reinhart but none of them will ever equal my love for The Lady Clarkson as I like to name her because she is simply fantastic. I even went as far as to join the Kelly Clarkson fan club to show my love for her, well that and they also offered premium seats for her concerts and I got to tell everyone I am a member of the Kelly Clarkson fan club. Which surprisingly doesn't get you the dates that you'd expect it too and allows many people to mock a thirty something just because he dares show his love for Ms. Kelly Clarkson.

Anyhoo, in the midst of my weekend depression, not to be confused with my weekday depression, they are in separate categories of course I found “unreleased” tracks that are supposedly going on Kelly's fifth studio disc. I have heard that in the past when her songs have leaked they are instantly removed from consideration from her album, however I hope that with some of these that thought is reconsidered as both the song and her delivery deserve a professional release. I'm not going to include links to these songs as you can find them with a little help from google but I will review them as they were leaked.

“Dumb + Dumb = You” - Yes that is the actual title of the song, and if there is anyone in music today that can sell a title like that it's Kelly Clarkson. If you don't believe me just look at “My Life Would Suck Without You” too understand. From the opening guitar riffs to the moment that Kelly's voice starts off seductively and then builds, you know this is not the type of song your expecting. Like most Clarkson songs she starts with a slow burn that builds into a catchy chorus that finds the listener singing along and getting to tell off an ex when they never had the actual chance too. No one tells off an ex like Ms. Clarkson can.

“I Forgive You” - The opening sounds almost have a kazoo sound to them with Kelly starting off “I forgive you, I forgive me, now when do I start feeling again” in a simple tone until the chorus bursts out with her pleading that the damage is done and they need to feel again. To describe this song is not enough, this is one where you not only have to listen to it once but several times to feel the hook, but once your hooked you can't get enough. This quiet simply could be single material from her.

“Let Me Down” - With the opening strains you think you're getting a song that has been played before and then with the opening lyrics of “I think I might be a fortune teller, I read your face just like a letter, the funny thing about forever, is that it comes with a side of never never” you think you're going to get a crappy B-side song, that is until Kelly lets loose on the chorus and proves that any of her songs could be a single based purely on vocal capability. She goes further in the song building and building until she unleashes a “I Know by Know” that ranks up there with the power of her “Behind These Hazel Eyes” or “Because of You” as sheer Clarkson bombast. This is the type of song only someone with the vocal power of Kelly Clarkson could make work and she makes it work.

“What Doesn't Kill You Makes You Stronger” - Starting off with a sound that reminds you of Coldplay and then going into an intro that is strictly Kelly. It has one of those you think you got the best of me, you think you got the last laugh and then unleashes into the trademark I will survive deliveries that Kelly is famous for. Gloria Gaynor had to tell us that “I will Survive” while Kelly can do it with her voice and delivery alone. She makes this into an anthem on delivery alone, she builds from the soft passages to the full out powerbelting that she is known for. The magic about Ms. Clarkson that I think is missed is that she's able to bring emotion to her voice in a way that I think is missing with most of the current singers. This could be one of those kiss off anthem songs that everyone knows only if the music bigwigs decided to release it that way.

Those were the songs that have been leaked within the past few days I'm also going to include a few songs that I've found and hope are included in her fifth studio release.

“Empty Handed” – Starting off with the strains of an acoustic guitar followed by the da,da's you think you're going to get a simple song but with Ms. Clarkson any simple song starts out and then builds to a full out singalong chorus to the strains of “You took me for granted, I don't understand it, when looking for answers I came up empty handed, but don't worry about me I'm stronger then you think....” and there lays the magic of any Clarkson song. She will move on and get stronger no matter what her ex thinks and in reality isn't that we all want in life.

“Tell Me a Lie” - This is a tricking type of song. The first lines of the song make you think it's a song that's decent but not a great song, that is until you hear the lines “Your Words cut like a knife...then you get further into the song until the chorus where Kelly is pleading “tell me I'm a screwed up mess, that I never listen.... Until it blasts into full power chorus, which is the area that NO ONE will ever be able to beat Kelly vocally. This is one of those songs that comes to life during the choruses but once it's alive it won't die. She sells this song all the way.

It's unclear at this point which if any of these songs will make her fifth studio disc and if history is any indication the fact that these have now been made public will decrease their chances of making it. It is a shame because these are in the context of pop music pretty good songs that is anything so off the power of Kelly's vocals and her delivery and should be included on her next studio disc. If for nothing else then as bonus tracks so we can have even more unreleased tracks to go along with these leaked tracks.

As a side note I do have to mention Kelly's killer version of the White Stripes song “Seven Nation Army” that she performed at an event for Coca Cola earlier this summer. She starts off with simple jazz tones that makes the non-Clarkson fans think the song is too big for her, and that's where she unleashes the vocal beast that we love her for. She builds the song until she's belting up a storm and is simply is a vocal powerhouse that can't be bettered by anyone.

http://youtu.be/MwcFL39IM9s

“Shout! The Mod Musical” at Marriott

The days of summer are long, tedious, and draining but those are words that I could never use to describe anything about Marriott Lincolnshire blistering production of “Shout! The Mod Musical” that opened up earlier in July and would have been reviewed much sooner if I didn't have a birthday and computer hacker at the same time.

The last time “Shout!” was done it was more of a meek whimper then the Marriott's production which seems to be saying we're sorry for coming out with a whisper and to make up for it we're going to “Sell it Girls.” Which works as this show pays homage to the 60's a decade with some of the most irresistible girl singers and groups that ever existed in the first place. You give anyone today the music from this era and how can they not shine with these songs. From anything to Jessie Muller's perfectly modulated “How Can I Be Sure,” Tammy Mader's defiant “These Boots are Made for Walking,” to Raena Whites belted out take on the title tune these are fresh delivery’s on classic songs staged to perfection by Rachel Rockwell who is becoming the director of Chicago musical theater.

My only complaint about this entire production and it has nothing really to do with “Shout” I just wish Marriott would spend more time doing book musicals then revues but that is a small complaint especially on a show that fulfills in so many other ways. Their production of “Shout! The Mod Musical” is as loud and strong as any of their other revues and a great way to get over the Chicago heatwave.

Shout! continues through Aug 14 at the Marriott Lincolnshire Theatre, 10 Marriott Dr., Lincolnshire. Tickets are $41 – $49. For more info, go to www.marriotttheatre.com or call 847-634-0200.

THE HOMOSEXUALS at About Face Theatre

If you take a lot of “Love, Valour, Compassion!”, roll it with some of the fluidity of “La Ronde” add some of the self loathing of “Boys in the Band”, mix in a little bit of racy confessional of “Party” and cook it in a time line that resembles “Merrily We Roll Along” and you have About Face Theatre's World premier of Philip Dawkins “THE HOMOSEXUALS” which opened at the The Victory Gardens Richard Christiansen Theater last night.

About Face Theatre concludes it's 15^th anniversary season and kicks-off GLBTQ Pride Month with the world premiere of THE HOMOSEXUALS” by Chicago playwright Philip Dawkins, directed with loving care and a strong sense of focus by AFT Artistic Director Bonnie Metzgar and features a talented cast that can turn from heartbreak to laughs in the blink of an eye.

The play starts out very much like Stephen Sondheim's “Merrily We Roll Along” at the end of a short relationship between Evan and Peter. Evan is breaking up the romantic aspect of the relationship he has with Peter in hopes of finally being able to go at it alone and wanting to be friends instead. The play then follows a time line in reverse with Evan and his relationships within a circle of friends that by the end of the play shows us his first encounter with the people that will play an important part of his life.

The play captures in an honest way the thin line between friendship, and love and how those in the gay community can sometimes blur those lines in search of the hopes that everyone looking for love has or will settle for in life. It also shows by staying in those lines can destroy the foundation of those very relationships that you spend time cultivating in search of selfish love.

Earlier in the day I had caught one of the final showings of the film version of Stephen Sondheim's “Company” and again noticed the similarities between THE HOMOSEXUALS and Company in the sense that both shows are about one man on the outside looking in with his highly varied lot of friends. However in Company we are presented with Bobby a character that is all charisma and charm who bounces from one zany couple to another all the while seeming the same yet never losing what his friends obviously see in him.

In THE HOMOSEXUALS we are left with Evan who appeared to be the least interesting person in his circle of friends. It's a hard trick to pull off in theater or anywhere else, to show a character's warts before you can show what makes them endearing. I felt Patrick Andrew’s Evan tried as hard as he could but in a role that seems to be tossed from one scene to another came across as being whatever he needed to be for that particular scene and made it very hard to get emotionally invested in his character when things are presented in reverse.

The ensemble is filled with actors who mine the rich complexities of the script and bring a fluidity to the piece when their roles are mostly required to be just in scenes. As Peter Scott Bradley pulls out the full force of battered show campy without sacrificing any of the level of pathos he could have easily done, Stephen Cone's portrayal of Michael, one of the few in this group who could only be called friend hits with devastation as it also rings home all too honestly. As the lone female in the group Tam Elizabeth Ledo's not only owns the stage but appears to still be on it far after her scene has come and gone. Ms. Ledo is a force of nature particularly in her rapid fire take down of Evan's internal homophobia. While Scott Bradley, Eddie Diaz, and John Francisco have the least fleshed out character scenes they all do well connecting the dots within those scenes to bring out what makes Evan the person he is today one just wishes those lines for those actors gave them a little more strength to play off of.

Once the moving back in time structure was established it wasn't difficult to follow along and in many instances for the cast played well in scene structure and dramatic arc unlike say Merrily were the device lessens the power of the piece this actually helped it grow.

There are so many things in THE HOMOSEXUALS that are wonderful and leave you with a warm feeling of being at a party with a group of people that you have known forever, people that can make you laugh and cry and feel in a few moments and feel like a family that you might never have had . If only we could feel the same way about the center of the family that we we do with its surroundings.

THE HOMOSEXUALS plays June 11 though July 24, 2011 at The Victory Gardens Richard Christiansen Theater, 2433 N. Lincoln Avenue in Chicago. Tickets are currently available at www.aboutfacetheatre.com or (773) 871-3000.

The Homosexuals

THE HOMOSEXUALS

BY PHILIP DAWKINS

JUNE 11 - JULY 24, 2011
VICTORY GARDENS RICHARD CHRISTIANSEN THEATER
2433 N. LINCOLN AVE.

Tickets on sale NOW!  Click HERE to purchase or call Victory Gardens at 773 871 3000.

Opening Night Gala: June 19th at 5pm.  Click here for more details.
Starring AFT Artistic Associates Patrick Andrews, Scott Bradley, Elizabeth Ledo and Benjamin Sprunger, as well as 
Stephen Cone, Eddie Diaz and John Francisco, THE HOMOSEXUALS is a play exploring friendship through the lens of sex.
On his first night in a midwestern city, Evan meets a circle of men who become his closest friends and potential lovers.  Chicago
playwright Philip Dawkins' comedic and heartbreaking work is for anyone who's ever fallen in love with a friend.  In other words,
it's a play for humans.

Chicago the Musical with Broadway in Chicago

“You are about to see a story of murder, greed, corruption, violence, exploitation, adultery, and treachery ---all those things we all hold near and dear to our hearts.”

At the beginning of the show a woman in black utters those line and out of all those things at least she's telling the truth, what she leaves out is you are also seeing a story a brilliant story sadly as current today as it was ahead of its time in 1975. The times just needed a while to catch up to the show.

The current tour playing a limited one-week engagement at the Oriental Theater, the Tony award winning Kander & Ebb smash hit “Chicago” brings a freshness and excitement that I haven't seen in several other touring companies of this 15 year old hit that I haven't seen in a while.

Thanks to the rapid flying direction by directed by Scott Faris, recreated from the revivals original direction by Walter Bobbie the show moves around at a quick piece, finds some originality, which is a joy considering he's working with a piece that by now is so well known thanks to the Oscar winning film and numerous television performances. If Bristol Palin is performing a number on “Dancing with the Stars” then there's a possibility that the show might be a tad bit overexposed. While Mr. Faris shows an assurance that never seems to falter, he is not the only one quilty of this heavenly crime. His partner Gary Chryst choreography while recreating Ann Reinking's moves brings an electricity to the moves that will leave you feeling like you just got a workout in your seat.

Their behind the scenes work shows off with the onstage performances notably Seinfel's John O'Hurley who brings an easiness and comedic flair to the role of lawyer Billy Flynn to the point that you almost felt like he was the star of the show. I say almost because of what heart the show may pretend to have is those killer dames of Tracy Shayne as Roxie Hart and Terra C.MacLeod's Velma Kelly. Ms. Shayne who plays the role with a bitter jadedness that might come across as being detached from the proceedings comes to life during her big first act solo “Roxie” and sells the heck out of “Me and My Baby.” From the moment she makes her appearance Terra C.MacLeod plays Velma Kelly as her life depended on it, as which it should since Velma in the right hands can be the show stealer, and in her telegraphed to the last role performance Ms. C.MacLeod comes dangerously close to doing just that. Ron Orbach as the put upon Amos Hart shows that no one could look right past him during his number “Mr. Chellophane,” while Roz Ryan plays her performance of Mamma Morton into another state but has the audience eating out of the palm of her hand. The rest of the cast performed this show with a freshness and excitement that could be felt at the back of the theater.

The sets, costumes, and lighting hold up to the high standard quality of this production. In a town where all those sins are a common occurrence this is simply a show that can not be missed.

“Chicago” is playing at the Oriental Theater at 24 W. Randolph Street thru Sunday June 12^th. Individual tickets are on sale now and range from $30 to $95. Tickets are available at all Broadway in Chicago Box Offices (24 W. Randolph St: 151 W Randolph St., 18 W. Monroe St. and 175 E. Chestnut), the Broadway in Chicago Ticket Kiosk at Water Tower Place (845 N. Michigan Ave.), the Broadway in Chicago Ticket Line at (800) 775-2000, all Ticketmaster retail locations (including Hot Tix and select Carson Prairie Scott, Coconuts and fye stores), and online at www.BroadwayInChicago.com. Tickets are available now for groups of 15 or more by calling Broadway in Chicago Group Sales at (312) 977-1710.

For more information, visit www.chicagothemusical.com or www.BroadwayInChicago.com

The Cherry Orchard at Raven Theatre

“Tragedy is Easy, Comedy is Hard”

That famous phrase kept running though my head Sunday night during Raven Theatre's production of Anton Chekov's final play “The Cherry Orchard,” which closed out their 2010-2011 season.

Sadly also running though my head was that Raven Theatre seems to have gotten the comedy down pat but at the expense of the tragedy and theatricality of this piece.

The Cherry Orchard is a play that some companies do the show as a strict drama and some others, most notably the 1977 Lincoln Center production that featured Irene Worth, Raul Julia, Mary Beth Hurt and Meryl Streep as Dunyasha play up the comedic aspects of the piece without sacrificing the drama. However if you play up the comedy then you should up the dramatic aspects of the piece and the aspect that seemed most lacking in this production was the drama within the characters. The cast with a few exceptions seemed to either overplay the comedy or left the drama alone so much that the play fell flat.

The play, tells the tale of the Ranevskayas, a Russian family of fleeting wealth and history whose estate faces financial ruin unless strong measures are taken to save it. With the structure of their way of life crumbling, money has run dry and options are few. When the family matriarch Lyubov Ranevskaya returns from the arms of her freeloading younger lover, a devoted former servant provides a solution. Will the family take action to save their estate and wealth or will they be condemened by their own arrogance and inertia.

Raven's production will draw on the historic parallels of post-emancipation Russia and America, they do this by casting African American actors as the servants to emphasis the class differences that define one's place in society. However the issue this poses is besides that it bothers you that slavery seems to be used as a gimmick it also takes you out of the setting of Russia in the early 1900's.

Besides that the actors seem to be directed to perform their monologues out to the audience instead of dialogue to one another, this is another jarring device that makes it hard to concentrate on the performances.

Which isn't necessarily a bad thing in this production. As Lopakhin the families trusted friend Frederick Harris seems to be telegraphing his role to the last role in an intimate theatre, Sophia Menedian delivers her role as the dutiful and lovestruck daughter Anya in a whiny tone that doesn't convey that she is as guilty as her family in the delusions of their future. Jason Huysman as Pishchick is saddled with an unfortunate costume and Ron Quad as Gayev finds humor in Gayev however he misses a lot of the sadness that you should feel for this man. I found Manny Buckley's to lack the sexual confidence that Yasha should have. In the showy leading role of Lyubov Ranevskaya, Joann Montemurro lacked the ability to convey a grand dame that is losing everything. There were certain moments that felt like they could have been played up. Most noticeably when she tears up the letter from her former lover. This was done in an emotionless moment that felt like she was merely tearing up a bill or as she's speaking to Michael Peters student Trofimov, in her speech about love you never felt like she had ever been in love.

There were several bright spots in this production, I found the above mention Michael Peters to be quite impassioned and delivered his lines with conviction. Liz Fletcher playing the farcical Governess Charlotta had the audience eating out of the palm of her hand while as the servants Fernando S. Albiar and Kelli Strickland played the humor of their roles to the hilt. I also enjoyed the work of Helen Young as the put upon adopted daughter Varya. She realized that her role was grounded in tragedy and stayed there.

The Cherry Orchard is a play where it shows the follies of the wealthy and that though their own arrogance bring their problems unto themselves. Raven Theatre was able to make this piece run smoothly but also at the expense of the characters and the dramatic tension of this piece.

The Cherry Orchard plays Thursdays through Saturdays at 8pm and on Sundays at 3pm, at their East Stage 6157 N. Clark. Tickets are $30 for all shows with $5 discount for students/seniors, $15 for groups of 10 or more for Thursdays, Fridayand Sunday performances, subject to availability. Free parking is provided in a lot adjacent to the theatre.

Tickets can be orded though the website at www.raventheatre.com or 773-338-2177.

Brigaddon at Light Opera Works

As I watched Light Opera Works glorious production of Alan Jay Lerner and Federick Loewe's musical “Brigadoon,” I couldn't help but think how wonderful it was to hear a 24 piece orchestra play such classics as “Waitin' for My Dearie”, “Come to Me, Bend to Me”, “Almost Like Being in Love”, and the list goes on and on.

In the dreamy town of Brigadoon, a mysterious village that appears for only one day every hundred years, though to it's inhabitants, the passing of time is no longer than one night. The only rule is that no one from Brigadoon may ever leave, otherwise the site and all its inhabitants will disappear into the mist forever. Lost in the Scottish Highlands are two American tourists Tommy Albright and Jeff Douglas who stumble upon the village just as a wedding is about to be celebrated, and their arrival leaves a lasting mark on the villagers.

Evanston based Light Opera Works has assembled a top notch cast and crew for this show and the list of reasons to see to run out and see this show could end up looking like a grocery list for a family of ten.

I have to say that at the top of the list is the orchestra led by Roger L. Bingaman, who is able and lucky enough to conduct such a large group, at least by what is usually the norm for most theater companies . It's always a pleasure to hear this particular score played so beautifully be all involved.

That is not to short change this work on this production by Rudy Hogenmiller who directed and choreographed this production with a fluidity that keeps the show moving along but also makes makes for lasting impressions even after the show has ended.

Also included high on the list is the cast that handles the score and dancing with grace and as easily as they are able to tackle some of the jaw dropping fight sequences that happen in the 2^nd act. Robert Hunt sings the role of Tommy Albright with a stunning baritone that was able to stop both acts with “Almost Like Being in Love” and with “There But for You Go I.” His partner in crime leading lady Jennie Sophia who was wonderful in Circle Theatre's production of “Kiss Me Kate” employs her gorgeous voice on “Waitin' for My Dearie.” and the aforementioned love as easily as she handles both the Scottish dialect and her characterization of Fiona MacLaren.

In the secondary leads both Clay Sanderson and Maggie Portman charmed and had the audience eating out of their hands. Ms. Portman who usually can be seen as a leading lady in such serious pop operas as “Evita” and “Chess” shows that she can float though comedy with as much assurance as she does on “The Love of My Life.” A special mention must also be made for Brandon Moorhead who floats though one of my favorite songs “Come to Me, Bend to Me” as smooth The rest of the large ensemble should all take a third bow for their work in this production.

On stage the scenic design of Nick Mozak and the costume design of Ricky Lurie match the rest of this shows high standards of taste and excellence. It made me happy to be able to see the amount of hard work it must have taken to assemble these components on stage and they should both take their bows along with everyone else.

This is a show that hasn't been revived on Broadway in quite some time and even though I do have some reservations about the overall book to the show, I feel that the villagers are too trusting of these strangers right away and I don't know if anything outside of this wonderful town quite works as it should Light Opera Works in every aspect holds up a exemplary list of reasons why this show should be done more often as long as those productions where held to the high standards of there production.

Brigadoon runs at Light Opera Works plays from Sunday, June at 2p,, Wednesday June 8th at 2pm, Friday, June 10th at 8pm, Saturday June 11, at 8pm and Sunday, June 12th at 2pm. It's playing at the Cahn Auditorium at 600 Emerson Street in Evanston IL and tickets can be purchased by either calling (847) 869-6300 or at www.LightOperaWorks.com.

Light Opera Works presents Midwest New Musicals

Midwest New Musicals:
a musical theater writers workshop
and development program starts new
core sessions on Chicago's North Shore
for the 2011-12 season

In association with Light Opera Works in Evanston Midwest New Musicals is meeting on Chicago's North Shore for an intensive program, where writers explore the use of music, lyrics and dialogue through hands-on assignments that introduce them to musical theater forms and collaborative technique, culminating in public performances of the Mini-Musicals Project.

The workshop meets monthly in two, four-hour sessions and Saturdays and Sundays 10 am-2 pm, September 24, 2011, through June 24, 2012.

Information: www.LightOperaWorks.com

or (847) 869-6300

jsparks@light-opera-works.org or (323) 371-8205

Evanston, IL: Midwest New Musicals, a writers workshop and development program lead by John Sparks, begins on September 24, 2011 and continues through June 24, 2012.

Midwest New Musicals is an ongoing forum where lyricists, composers and book writers create and discuss their work. Divided into three levels, workshop members meet 10 times per year for intensive weekend sessions led by Workshop Director John Sparks, and Associate Artist Larry Todd Johnson. Sessions will take place on Chicago's North Shore. In addition there are interactive online Labs for the individual disciplines of book writing, lyric writing and composing for musicals.

The study and writing process leads to a Mini-Musicals Project where participants create short musicals for a pre-selected ensemble and production team. The project culminates in a formal public presentation.

Fees for the Midwest New Musicals Core Curriculum are $645 per term, or $1,200 if enrolling for two terms in advance.The fall term is a pre-requisite for the winter/spring term. The winter/spring term includes the Mini-Musicals Project. One Lab is included in two-term fee.

Additional Labs: $495 each.Application Fee (non-refundable):$25.

The culminating exercise of first-year workshop writers is the Mini-Musicals Project. Participating authors create short musicals for a pre-selected ensemble and production team. The 2011 Mini-Musicals Project is Spring Rains and Labor Pains and is comprised of four pieces: Life Has its Ups and Downs by Gail Sonkin & Laura Toffenetti, Real Life by Scott Free & John David Nelson, Surrogates by David Charles Goyette, Mike O'Mara & Jean Vanier and Another Life by J. Linn Allen & Leo Schwartz. The stage director is Allan Chambers, the music director is Jessica Hunt, and the performers areKelllie Cundiff, Kevin Grubb, Amy Malcom, Mark LeBeau and Amanda Marcheschi.

Spring Rains and Labor Pains, the 2011 Mini-Musical Project takes place on Sunday, July 17, 6:30 PM at the McGaw YMCA Children's Center Auditorium at 1420 Maple (at Lake) in Evanston Tickets for the general public are $10 at the door.

Since 2009, Midwest New Musicals, has been a resident arm of Light Opera Works, Chicago's specialists in operetta and musical theater. With the Midwest New Musicals, Light Opera Works is able to expand its programming and service to the field by providing an outlet for writers and for new works of musical theater.

Workshop Leader Biographies

John Sparks (Workshop Director) is the Artistic Director for the Academy for New Musical Theatre in Los Angeles where he has taught since 1981. In 1987 he founded the musical theater writers workshop at the former Theatre Building Chicago where he served as Artistic Director from 1999 to 2009. John is also currently a board member and guest instructor with Mercury Musical Developments in London. John has written many musicals that have been produced in Los Angeles, Chicago and on the east coast, including: Babes In Barns (music and lyrics), Hans Brinker (lyrics), Cashel Byron (book),The Arresting Dilemma of Mister K (book), and On The Brink (book and lyrics). He has received awards such as the After Dark Award for Best Score and several commissions from Theatre Building Chicago and the Frederick Loewe Trust, awarded by the National Alliance for Musical Theatre. John studied with the late Lehman Engel, renowned musical director and founder of the BMI-Lehman Engel Musical Theatre Workshop and with Broadway and Hollywood director Michael Gordon.

Larry Todd Johnson (Associate Artist) is a book writer and lyricist originally from Southern California. With composer Cindy O'Connor, his musical 40 is the New 15 received Stagescene LA's award for Best New Musical 2010, received a 2010 GLAAD Media Award Nomination for Outstanding Los Angeles Theatre, and was chosen by Stephen Schwartz to be part of the ASCAP/Disney Musical Theatre Workshop. Larry and Cindy won the Kennedy Center National Playwright's Award as well as the ACTF Musical Theater Award for their work on the musical-drama All That He Was. Other projects include Beautiful (with Cindy O'Connor and Adrian Bewley) Now and Then a Hero (with composer Jake Anthony) and The Last Princess (with composer Allen Hong.) For television, Larry has written animated series teleplays for Yin Yang Yo!, The Care Bears, and Angela Anaconda, to name a few. He holds a BA in Theatre from UCLA and a Masters in Playwriting from CSUF.

Light Opera Works is a resident professional not-for-profit theater in Evanston, founded in 1980. The company's mission is to produce and present musical theater from a variety of world traditions, to engage the community through educational and outreach programs, and to train artists in musical theater. All productions are presented in English, with foreign works done in carefully edited modern translations. Maximum scholarship is employed to preserve the original vocal and orchestral material as well as the spirit of the original text whenever possible. Audiences have come to know that at Light Opera Works they will experience repertoire often unavailable on the stages of commercial theaters and opera houses, in modern productions with professional artists and full orchestra.

Down & Dirty Romeo & Juliet at Shattered Globe

Picture, if you were William Shakespeare’s :”Romeo & Juliet” get's mixed with Rupert Holms and Charles Dickens musical “The Mystery of Edwin Drood” and you might have a slight idea how Shattered Globe Theatre 2.0 is putting on a truly remarkable, fully engaging, and never dull production of “Down & Dirty Romeo & Juliet.” The show takes place at a different venue each night with last night being at the upstairs bar area of Justin's on 3358 Southport. As the show starts the director Roger Smart welcomes the audience and gives the rules. In a moment we will be able to decide which members of the ensemble will take on what roles. Any prop located in the space would and could be used by the cast, on the night I attended props ranged anywhere from sunglasses, audience members, glasses of wine, and stuffed animals.

Shattered Globe is able to even go one step further and as ask you as you enter into the theatre which side of the family you would like to be a part of and then give you a name tag of either Capulet or Montague. I was a Montague and also was given a Shakespearian Insult lists that I could string insults out loud during the fight scenes. My favorite Grow unsightly warts thou gorbellied unchin-snouted maggot pie. A line I plan n using on a few ex's.

Our cast was chosen for the night and we were lucky to get the Dan Wilson's youthful and confused Romeo and Hilary Williams Juliet who smartly played Juliet as a typically confused and awkward Juliet. They were strongly supported by Drew Schad stern Nurse, Christina Gorman's Lady Macbeth version of Lady Capulet, Kendra Kargemian angry Tybalt, Angie Shriner's fiesty Benvolio, Joseph Wiens enraged Lord Capulet, and Levi Hollowy's contemporary Friar Lawrence. I only felt that Kate LcConti's pushed the manly aspects about Mercutio a little hard but that also seems the character more then the actress.

Though out the lighting speed of the action and smartly played in the aisles and mainly in center of the bar it lets you feel like you are a part of the action.

At first I thought this concept that was originally based on The Factory Hamlet, which was an idea devised and developed by the Factory Theatre in London by Tim Carroll would lead to uneasy performances as it's hard to grow into a character that you may never have performed before. However it's a credit to the cast and Roger Smarts direction that these performances not only felt fresh but felt like the actors were emotionally invested in the material. They were quite fearless in there performances and you could feel the excitement they had in performing in this style.

I must confess I came into this production a little hesitant as Romeo and Juliet is not my favorite piece from Shakespeare. It's a beautifully constructed piece but for some reason the impatience of youth and the sacrifices of what these children do in the name of love have never appealed to me. However, the concept that Shattered Globe used coupled with the strength of Roger Smarts direction and a cast that felt like they were on fire I left this production as a fan.

This production will next play July 17^th, 24, and 31^st at Millennium Park, 201 E. Randolph with the times and tickets to be determined.

http://www.shatteredglobe.org/current_production.html

Porgy and Bess at Court Theatre

“White. A blank page or canvas. The challenge: bring order to the whole.” Through design. Composition. Balance. Light. And harmony.” - Sunday in the Park with GeorgeThe opening lines to Stephen Sondheim's and James Lapine's masterpiece quickly came to mind when entering and though out Charles Newell & Doug Peck's ballsy production of George & Ira Gershwin's classic Opera “Porgy and Bess” that opened last night at Court Theatre in Hyde Park.

It takes nothing short of leaping from a cliff without a rope to take on an immortal American Opera with a six piece band and a cast of 15. Did they land safely or crash to the ground? In almost every aspect they landed like an Olympic athlete on their way to a Silver medal.

This is a “Porgy and Bess” that can work for the everyman who doesn't really want to see an opera but wants to explore the intimacy of these larger then life characters and setting however for an opera fan this is going to make them see red as this production will not rise to the level that they might be accustom to.

Under Doug Pecks superb Musical Direction and New Orchestrations you get the feeling like this is an acoustic production that doesn't have the bombast of a large orchestrator which allows you to go into the story. In the larger choral numbers you do miss the larger sound that would come from a grand orchestra however in the quieter moments such as a stunning “My Man's Gone Now” lead by the big voiced and compelling Bethany Thomas and “Bess, You Is My Woman will leave you devastated and falling in love like its the first time. This also has to be one of the hardest working ensembles I've seen in a long time. Harriet Nzinga Plumpp's Clara get's the immortal “Summertime” and delivers it beautifully to her child, Wydetta Carter delivers “I Hates Yo'Struttin Style” with comedic panache that had the audience eating out of her hand while Bear Bellinger's Peter is sung and acted without betraying his characters innocence. These are just to single out a few individuals in a very strong ensemble.

This productions four leads service the piece acting wise beautifully, from James Earl Jones II menacing Crown he gives you a character that you hate while easily seeing what Bess is drawn to. Sean Blake Sporting Life delivers the showstoppers “It Ain't Necessarily So” and “There's a Boat dat' Leavin Soon” with the fluidity of a snake charmer. The show's title characters Todd M. Kryger's Porgy and Alexis J. Rogers' Bess emote and deliver the aforementioned “Bess, You Is My Woman” into a honest and lovely highlight while both delivering solos as “Oh, Bess, Oh, Where's My Bess” and “I Loves You, Porgy” beautifully wit an emotional rawness to the piece I had not heard before. However my quibble and what prevents this production from obtaining a gold medal is that in the scores higher or lower passages for the leads it seemed like they had some difficulty achieving that and it was noticeable. Not enough to bother me because there are so many wonderful things about them and this production however it's like that last lingering look at a former lover. As you leave them you focus on the positive however you have those brief flashes on why it didn't work out.

In Charles Newell's stages the production with what seems at first a simplistic approach but when it unfolds you realize that everything is carefully planned and brings out a concept that approaches operatic while still staying under an intimate setting. John Culbert's scenic design and Jacqueline Firkins costume designs have turned catfish row and it's inhabits into a look that's spiritually both simple and elegant however could have used some dirtying up when innocence was being threatened. Brian H. Scott's lighting design plays an important part of making these images seared into your head far after the show is over with.

As James Lapine's at the beginning so elegantly put there is so much design, composition, balance, light, and harmony in this production that it succeeds on so many levels. However a small part and something that won't go a way, is that with the grandness of this piece being an opera it's noticeably missing bot vocally and musically during the bigger pieces. “Porgy and Bess” is set in a world of larger then life people living with their emotions exposed in an operatic way. This production transcends on so many levels in it's intimate moments that you can't ignore the sheer power and beauty of this production.

In watching the previews for all the upcoming shows next season I happened on one that looks extremely promising. It's called “Smash” and has a lot of talent behind and in in front of camera. The show follows the creation of a Broadway musical based on the life of Marilyn Monroe, Now for Broadway obsessed we all know this has been done before. In 1983 “Marilyn: An American Fable” opened and closed right away. It starred Alison Reed who some might remember as Cassie in the film version of “A Chorus Line” and would later play the director in the “High School Musical” movies played Marilyn with Scott Bakula as Joe DiMaggio. Hopefully “Smash” will fare better then this show did.

The premise seems to be the creation of a musical from start to finish and very much like the show “Glee” characters will break out into song unlike “Glee” these are all original songs composed by Scott Whittman and Marc Shaiman (Hairspray, Catch Me if You Can.) The show is executive produced by Steven Spielberg, Craig Zadan directed by Michael Mayer and written by Theresa Rebeck. The impressive cast features Academy Award winner Anjelica Huston, Emmy Award winner Debra Messing, Jack Davenport, Broadway veterans Megan Hilty, Brian d'Arcy James, Christian Borle and introducing American Idol runner up Katharine McPhee.

I love and respect the entire cast however as a fan of Mrs. McPhee when she was on Idol, I'm probably more excited about her inclusion on this show then anyone else's.

It's interesting that at the start of the preview they reference what is probably her most famous Idol performance “Somewhere Over the Rainbow” complete with the arms over her head that she would do when she performed this number twice. In the video she also gets to sing Christina Aguilera's “Beautiful” and as another coincidence the moment on the show where she was almost eliminated was for singing “The Voice Within” also by Christina Aguilera and from the same album as “Beautiful.”

On Idol Kat, as many of her fans call her turned in impressive performances of “Since I Don't Have You,” “Think,” “”Come Rain or Come Shine,” “I Have Nothing,” and had a moment with “Black Horse and the Cherry Tree.” A number that the original singer KT Turnstall still credits her performance on the show as launching the song unto the charts.

After coming in second Kat kept up an extremely busy profile without achieving the bonafide success many felt she would have. She appeared in films like “The House Bunny,” and “You May Not Kiss the Bride,” television shows like “CSI: NY, ” and “Community” recorded three solo albums while having chart success with the singles “Somewhere Over the Rainbow,” and “Over It” and did the work shop for the musical “Catch Me If You Can”.

With early critical reviews in a lot of people are banking on “Smash” being a hit for NBC and many people have already singled out the performance of Katharine McPhee as star making. She certainly wouldn't be the first Idol to achieve a larger fan base though something other then music as Jennifer Hudson won an Academy Award first for “Dreamgirls” and then went on to release two successful albums and win a Grammy Award. Judging from the video clip below it certainly seems to highlight her in a way that makes her look like a star. I mean come on, who gets that kind of lighting during an audition? Who get's clips of two songs and then gets to do a sexy tease for a late night cast director while still keeping her morals? I'm also looking forward to a show that I want to watch on Monday nights which usually seems like a night for no TV.

The questions are still out if this concept can last a full season and be what the title asks it to be but if nothing else it's definitely going to bring Katharine McPhee to a wider audience and keep up the star power that she has shown in the past. I can't wait to see what this show has in store for us.

Smash is premiering in January 2012 on Monday nights on NBC.

SHATTERED GLOBE THEATRE PRESENTS ROMEO AND JULIET WITH A TWIST

DOWN & DIRTY ROMEO & JULIET production involves audience from the start

CHICAGO— Shattered Globe Theatre is launching the second production of its 19^th season with DOWN & DIRTY ROMEO & JULIET. The production will play at various Chicago locations, with more dates to be added, such as:

The Spot, 4437 N. Broadway Avenue, May 19^th at 7 p.m.

John Hancock Observatory, 875 N. Michigan Ave., May 16^th and May 22^nd at 7:30 p.m.

Schubas, 3159 North Southport Avenue, May 24^th at 7 p.m.

Justin’s, 3358 N. Southport Avenue on May 29^th at 7:00p.m.

Millennium Park, 201 E. Randolph St., on July 17^th, 24^th and 31st (Time TBD)

The interactive play will have many different performance spaces throughout its run. Audiences may find themselves moving around a park, through the rooms and corridors of a building or even from venue to venue. When the location is a local pub or restaurant - the audience will be encouraged to purchase & consume beverages and food from the venue. If the performance requires the audience to move from location to location, they will be directed by actors and SGT guides through a pre-determined route from location to location. Each production site sets the stage and the actors assemble their own costumes from street clothes. The ensemble cast includes 14 actors who have memorized and rehearsed multiple roles so each performance will be unique. Audience members will have a chance to take part in the performance!

All of the actors have rehearsed their roles and know their lines—but who will get to play the part? At the beginning of each performance the Actors are introduced. Then the voting begins! The audience then votes by applause as to who the lucky actor will be that day! This is an extremely interactive production with the actors working among and with an intimate audience of 30-50 people.

This is Romeo and Juliet as you’ve never seen it before. Highly accomplished and rehearsed actors will encourage spontaneity and irreverence during the performance. Audience members are encouraged to offer up different props during the performance. As audience members are “encouraged” to play smaller roles – they will be guided by actors and reading from prompt cards.

Other schedule and location details can be found by following the production on Facebook and Twitter as well as the Shattered Globe Theatre’s website. Tickets are $18 and are available in advance online at the www.shatteredglobe.org and at the door before each performance.

This production is based on The Factory Hamlet, an idea devised and developed by the Factory Theatre, London.

About Shattered Globe Theatre:

Shattered Globe Theatre’s mission is to bring global theater home to Chicago. Shattered Globe Theatre seeks to inspire social discourse by raising questions rather than espousing philosophy; to stimulate artistic growth and broaden the perspectives of both the artist and the audience. To this end, Shattered Globe Theatre enriches its ensemble by absorbing and nurturing diverse emerging theatrical talent; engaging its audiences by means of challenging and inventive interaction; and bringing audiences dynamic re-imaginings of classic works and premiere productions that celebrate new voices and innovative viewpoints.

For more information on Shattered Globe, visit www.shatteredglobe.org.