The King and I at Porchlight Music Theatre Chicago

How can one of the grandest Rodgers & Hammerstein shows be done as an intimate production? Porchlight Music Theatre Chicago is presenting as there 2010-2011 season finale the classic “The King and I” though June 5^th at Stage 773, 1225 W. Belmont Chicago. There are many aspects that have been done intimately that work for this production however there is one giant factor that works against it.

First let me get the negative out of the way because there are so many things to whistle a happy tune about in this production. Porchlight employees a two piano arrangement of the score, with one piano on each side of the stage as what they call a symbolic representation of the meeting of two worlds and that's all very well but it takes out the grandness of the score and serves as a disservice to one of the greatest Rogers & Hammerstein scores that there ever was. Imagine if you have the choice to get tickets to a recital or Chicago Symphony, what would you pick. I'm not sure the reasons why they chose this concept but of all the 20^th Century Broadway Composers R & H are known for their lush scores and are probably not the best choices to apply this treatment to.

If you can listen past that the rest of this smart production directed with love and care by L. Walter Stearns who is concluding his eleven-year run as artistic director with this production in order to move to the Mercury Theater, is wonderful. He keeps the scenes moving along and the crafts the performances in a natural way that nothing seems forced.

In the central role of Anna Leonowens Brianna Borger dazzles as she takes command of the stage with grace and elegance and delivers “Getting to Know You” with charm and “Hello, Young Lovers” the longing of love past. Her “Shall I Tell You What I Think of You” is acted to the hilt. Wayne Hu as The King commands the stage and is able to switch from authority to the comedic aspects of the role in an instance and his smart enough to give a fresh take on the role and not imitate a performance that others have. I found Kate Garassino's Lady Thiang strong in convictions and in her heart delivering a gorgeous “Something Wonderful,” Jillian Anne Jocson and Erik Kaiko touching as the lovers Tuptim and Lun Tha especially in their two duets. The rest of the cast including their children played up the comedic aspects of their role more so then other productions I have seen and it worked beautiful.

L. Walter Stearns should be very proud that he finished his run with porchlight with this production as you can see the work he's done in it. Brenda Didier choreography especially during “Small House of Uncle Toms Cabin” was superb and even in an intimate stage didn't feel like it lost anything. Bill Morey's costumes were gorgeous and even though the intimate two piano idea was a major disappointment I did feel that Eugene Dizon and Allison Hendrix played the vast score beautifully I can't imagine what it would have sounded like even with half an orchestra.

It's funny with all The King and I's I have seen in my life I found this intimate production to be filled with many nuances then many of the others the only thing that I thing it missed is what makes the show so grand. It felt like a play with music which could work but when you have songs as glorious as these to take it to another level any thing else can be quite jarring. However I would still recommend to anyone to see a fully realized story presented on stage.

Next to Normal at Bank of America Theater

Chicago is in for a huge emotional roller coaster when the national tour of the Tony and Pulitzer Prize winning “Next to Normal makes it Chicago stop April 26^th thru My 8, 2011 at the Bank of America Theater.

The musical created by Tom Kitt who did the music and the book and lyrics by Brian Yorkey had originally been presented in workshops as concerts as “Feeling Electric” minus a lot of fleshing out that it has received since then. It originally opened Off-Broadway at the Second Stage in 2008 then took the unusual path of moving to Washington D.C.'s Arena Stage where the creators were able to spend some time reworking it (I also remember rumblings that The Goodman in Chicago tried to get it) for which the finished version ended up on Broadway winning raves and awards.

The show's defiantly a powerhouse in every possible way. It's a show that brings out the emotions that can make you laugh and cry at the drop of a hat and is able by an amazing set that's structure to look like the inside of it's leading lady's mind where the windows serve as Eyes and the top of the house reminds you as her hair line.

The Goodman's are your typical all American family at least in appearances however as time goes by those appearances are harder and harder to main with the breakdown of the mother Diana's mental and emotional state leading to the destruction of everything around them. I know this is serious stuff and might turn people away from the show but the power and joy in this show is that they are able to find so much humor in their story telling and the characters are so defined you not only like this family but you end up rooting for them.

The star of the show is without a question is Tony and Helen Hayes award winner Alice Ripley as the mother Diana and to say that she is giving a breathtaking fully realized performance would still not be able to bestow the proper kudos to her. I have seen Ms. Ripley in other things and this was the moment where I felt like she was the character and not playing a showy role in a show. From the moment she's on stage to the final second you simply cannot take your eyes of her. I'm still not if her usual powerbelting vocals were dampened on purposes and some extremely noticeable notes were off but as a fan of her's I did notice that instead of producing powerful chest belting she was singing in a head voice for the show. Regardless that's just finding a quip she is simply sensational in the role and deserves all the love letters she has received or will receive.

As the rest of the “normal” family Asa Somers acts the role of the helpless father who feels powerless in being able to attend to Diana's sanity but he's sometimes let down by the strength of the score and the reality of his voice. To be fair to him I still can't believe that people are expected to sing this score 8times a week. As their children Curt Hansen is able to convey disconnection he has to everyone but his mother and sing this score with power and looks like he's working everything up there, Emma Hunton as Natalie their daughter not only plays the loneliness of the character but besides being able to powerfully belt out her music plays the rebellious aspect without sacrificing the audiences affection for her. In two small but important roles one being all about the emotion he so's Preston Sadleir is excellent even when you can clearing recognize the same mistakes him and Natalie are making are the same ones that her parents made when they were younger. On the other side of the spectrum Jeremy Kushnier as Dr. Madden is able to drain the emotion from his and give you the disconnection between sience and humity that many find to compain about the healthcare industry.

The show's rapid fire direction by Michael Grief and music are kept at an explosive pace but puts you in thought person suffering though issues. Everything about this production makes you feel connected without falling into overkill and makes you feel as if you were suffering though the breakdown of an all American family. Everything is so fluid and sometimes you don't get a moment to stop, breathe in, and return next to Normal but you do see the beauty in all of that from the start. If you get a chance please do see this amazing show you will not be disappointment.

Pony & Woyzeck at About Face Theatre & The Hypocrites

Opening April 10 - May 22^nd and running in Repertory is About Face Theatre's world premiere production of Sylvan Oswald's play “Pony” directed by Bonnie Metzger and The Hypocrites production of Georg Buchner's “Woyzeck” adapted and directed by Sean Graney.

Both plays focus on someone removed from society who will push themselves past their comfort zones for money regardless of the harm to themselves while others see it as furthering scientific research.

The man difference between the two is that with “Woyzek” you have a show that tries to say something even though it has flaws in both the story and in the production and with “Pony” you have a flawed production that in the end doesn't really say anything or feel like it's about anything.

In Pony you have a poorly written show that feels like the author kept his netflix copy of “Boys Don't Cry” for far too long and watched it a lot in order to come up with story points.

The show started with a is so or isn't she insane Kristina Valada-Viars in a lake reenacting a murder that place at a lake. You start to find yourself not caring is she's insane or nor due to the writing and bad performance. It's as if the directed pieced together sentences thought the play without finding a way to connect them into mean, thought, or even a decent script. I'm hoping that given the right material Kelli Simpkins (Pony) could do a better job as she's good with what she has to do. As for the rest of the cast it seems like they are either over playing their cliches or underplaying to a point that you have no interest in them at out and for two house that can be painful.

As I stayed for the second show The Hypocrities production of “Woyzeck” I was nervous as the other almost put me into sleep however with as much as they tried to though at you I felt like I just had 12 red bulls all at one time. They are a theater company that does not believe in subtly. You want singing, check, dancing, check, blood, check, stage fighting, check, enough illusions Brecht, Weill, and Sweeney Todd, check, check, and check. You will see all of that and much more in the course of 60 minutes.

The show opened with Woyzeck dressed up as a mysterious lab assistant cleaning up the floor while the audience took to their seats and you saw in those moments with him looking at the audience the fire raging within as he did nothing about it. That anger and passion in seemed to be growing with every scene to it exploded in a violent and bloody way.

I thought as the central leads Geoff Button was able to effectively play a man who gives and gives so much without getting anything in turn it drives him to rage and then insanity. He sets the wheels of destruction not for himself but for others and even though you don't find him a sympathetic man you do feel pit for him. As his love interest Maria Lindsey Gavel is his fire to the ice in his world. Ms. Gravel having flaming red hair, a sweet singing voice, and an ability to fill the void for somethings things that we might normally not seen.

I think my biggest issue and it's something that's tied in the structure of the place but was not up by this group of actors is that with the hell that is going on I expected some innocence within the characters or possibly th staging. Something to make us feel that we started with hop, or got hope in the middle and then we lost it, after this production I felt like we never had it to begin with.

Hollis Resnik to star as Margo Channing in “All About Eve” All-Star Benefit Reading for Season of Concern

Hollis Resnik is Margo Channing in “All About Eve”

All-Star Benefit Reading

Award-winning actress Hollis Resnik is Margo Channing in Season of Concern’s benefit reading of “All About Eve” May 23 at the Mayne Stage.

The reading of Joseph L. Mankiewicz’s iconic 1950 screenplay is directed by longtime Goodman Theatre associate producer Steve Scott. Show time is 7:00 PM.

Resnik will be joined onstage by other Chicago favorites including Larry Yando as Addison DeWitt, Heidi Kettenring as Karen, Steppenwolf ensemble member James Vincent Meredith as Bill, Peggy Roeder as Birdie, Northlight Theatre Artistic Director BJ Jones as Llyod, Ross Lehman as Max Fabian, Maura Kidwell as Ms. Caswell, and Sandra Delgado as Eve. Longtime Chicago musician John Steinhagen is the Pianist. Additional casting will be announced shortly.

The 1950 film "All About Eve" starred Bette Davis as Channing, the prominent yet aging Broadway star, and Anne Baxter as Eve Harrington, a willingly helpful young fan who insinuates herself into Channing's life. The film was written and directed by Joseph L. Mankiewicz, based on the short story "The Wisdom of Eve" by Mary Orr.

The film was nominated for 14 Academy Awards and won six, including Best Picture.

Season of Concern is the Chicago theatre community’s fundraising effort, providing compassionate care to artists who are experiencing life-threatening illnesses. Each year, Season of Concern raises funds that provide direct care and address critical healthcare needs for Chicago theatre community members.

At the benefit, Season of Concern will present its 4^th Annual Larry Sloan Awards to the AIDS Foundation of Chicago, former SoC board president Barry Taylor, and longtime SoC fundraiser Karen Bronson.

“All About Eve” is presented by special arrangement with Twentieth Century Fox Film Corporation and Sonia Friedman Productions. Windy City Media Group is a media sponsor.

The Mayne Stage is located at 1328 W. Morse Avenue. Valet parking is available for $5.00 at the door. Tickets for the reading go on sale on Wednesday, April 20 and are $45, or two for $80. For more information and to purchase tickets visit http://www.seasonofconcern.org/.

American Idol Doing Duets and the music of Carol King Tonight

The word on the street, okay like I actually hit the street to find gossip when I can type is that American Idol is having the top 6 sing duets along with the music of Carol King tonight. It'll be interesting to see if they can be as good as the famous Allison Iraheta Adam Lambert “Slow Ride” and Crystal Bowersox Lee DeWyze “Falling Slowly” or epic fail like the Kris Allen Danny Gokey “Renegade.”

As for solos I'm looking forward to the music of Carol King as she has written some of the amazing things though her long career however it is a little surprising that a show that usually favors glory notes, held out notes, powerbelting, and an overproduced band will be tackling the music of her.

I'm hoping that my Haley tackle's the Amy Whinehouse version of “Will You Still Love Me Tomorrow.” As a leaked photo showed that Scotty and Lauren are singing a duet together I have a feeling it's going to be “You've Got a Friend” and it would not shock me (as if there is anything he does that's shocking) if Scotty sings “Smackwater Jack”.

Here’s a partial list of Carole King-written hits: “Will You Love Me Tomorrow?” (Shirelles), “Take Good Care Of My Baby” (Bobby Vee), “Up On the Roof” (The Drifters/ James Taylor), “The Loco-Motion” (Little Eva / Grand Funk / Kylie Minogue), “One Fine Day” (The Chiffons), “Go Away Little Girl” (Steve Lawrence / Donny Osmond), “Don’t Bring Me Down” (The Animals), “I’m Into Something Good” (Herman’s Hermits), “Pleasant Valley Sunday” (The Monkees), “(You Make Me Feel Like) a Natural Woman” (Aretha Franklin), “Chains” (The Beatles), “Crying In the Rain” (Everly Brothers / a-ha), “Don’t Say Nothing Bad About My Baby” (Cookies), “Hi-De-Ho” (Blood Sweat & Tears), “It Might as Well Rain Until September” (Gary & Dave), “Hey Girl” (Donny Osmond / Freddie Scott), “You’ve Got A Friend” (James Taylor)and “Where You Lead” (Sweet Inspirations).

Plus her own hits “One Fine Day”, “Hard Rock Café”, “Only Love Is Real”, “Nightingale”, “Jazzman”, “Been To Canaan”, “Believe In Humanity”, “Corazón”, “Sweet Seasons”, “Smackwater Jack”, “It’s Too Late”, and “So Far Away”.

George Hamilton to Star in LA CAGE AU FOLLES at the Bank of America Theatre‏

WINNER! 3 TONY AWARDS!

WINNER! 4 OUTER CRITICS WARDS CRITICS CIRCLE AWARDS! WINNER! DRAMA LEAGUE AWARD!

LA CAGE AUX FOLLES

STARRING

GEORGE HAMILTON

The producers of LA CAGE AUX FOLLES have announced today that George Hamilton will star in the hilarious new production that was the biggest hit of the 2010 Broadway season leaving audiences in stitches night after night!

The national tour of LA CAGE AUX FOLLES will be produced by Barry and Fran Weissler, Sonia Friedman Productions and David Babani in association with NETworks Presentations.

LA CAGE AUX FOLLES tells the story of Georges (George Hamilton) the owner of a glitzy nightclub in lovely Saint-Tropez, and his partner Albin, who moonlights as the glamorous chanteuse Zaza. When Georges' son brings his fiancée's conservative parents home to meet the flashy pair, the bonds of family are put to the test as the feather boas fly! LA CAGE AUX FOLLES is a tuneful and touching tale of one family's struggle to stay together... stay fabulous... and above all else, stay true to themselves!

George Hamilton is noted for his dashing, sporting, jet-setter image and perpetually bronzed skin tones in commercials, dramatic and comedic film roles and reality shows.

George Hamilton with his exceedingly handsome looks and attractive personality, he took a bold chance and moved to Los Angeles in the late 1950s. Metro Goldwyn Mayer wasted no time putting him in films following some guest appearances on TV. His first film, a lead in Crime & Punishment, USA (1959), was an offbeat, updated adaptation of the Fyodor Dostoevsky novel. He was the recipient of a Golden Globe for "Most Promising Newcomer" as well as being nominated for "Best Foreign Actor" by the British Film Academy (BAFTA). This in turn led to an enviable series of film showcases such as Home from the Hill, All the Fine Young Cannibals, Light in the Piazza and Two Weeks in Another Town.

He performed several roles in numerous films but is best known for MGM films in the 1960s' Where the Boys Are, a coming-of-age romantic comedy in which Hamilton played a smooth Ivy League type. Hamilton made two memorable bio-pics: Your Cheatin' Heart in 1964, in which he portrayed the country-western music legend Hank Williams and in 1971, Evel Knievel, the life story of the motorcycle daredevil.

As the 1960s began to unfold, George Hamilton started making headlines more as a handsome escort to the rich, the powerful and the beautiful than as an acclaimed actor -- none more so than his 1966 squiring of President Lyndon B. Johnson's daughter Lynda Bird Johnson. From the 1970s on, George tended to be tux-prone on standard film and TV comedy and drama, whether as a martini-swirling opportunist, villain or lover. A wonderful comeback for him came in the form of the disco-era Dracula spoof Love at First Bite (1979), which he executive-produced. Nominated for a Golden Globe as the campy neck-biter displaced and having to fend off the harsh realities of New York living, he continued on the parody road successfully with Zorro, the Gay Blade (1981) in the very best Mel Brooks tradition.

This renewed popularity led to a one-year stint on "Dynasty" (1981) during the 1985-1986 season and a string of fun, self-mocking commercials, particularly his Ritz Cracker appearance that often spoofed his overly tanned appearance. In 1989 he started a line of skin-care products and a chain of tanning salons. On the tube he can still pull off a good time, whether playing flamboyant publisher William Randolph Hearst in Rough Riders (1997) (TV), playing the best-looking Santa Claus ever in A Very Cool Christmas (2004) (TV), hosting beauty pageants or making breezy gag appearances.

He has broken through the "reality show" ranks by hosting "The Family" (2003) and participating in the second season of ABC's "Dancing with the Stars" (2005/I), where his charm and usual impeccable tailoring scored higher than his limberness.

Hamilton was honored with a star on the Hollywood Walk of Fame in 2009, on his 70th birthday.

LA CAGE AUX FOLLES recently made Tony Awards history as the first show to ever win the Tony Award three times for best production. The classic musical comedy by Jerry Herman and Harvey Fierstein originally won six Tony Awards in 1984, including Best Musical. A Broadway revival won two 2005 Tony Awards including the Best Revival of a Musical prize. The new, freshly reconceived LA CAGE won three 2010 Tony Awards including Best Revival of a Musical and Best Director of a Musical (Terry Johnson).

The production is also the winner of three Drama Desk Awards, including Outstanding Revival of a Musical, four Outer Critics Circle Awards, including Outstanding Revival of a Musical and Outstanding Director of a Musical (Terry Johnson) and the Drama League Award for Distinguished Revival of a Musical.

LA CAGE AUX FOLLES features music and lyrics by Jerry Herman and book by Harvey Fierstein, based on the play by Jean Poiret.

See what the critics had to say:

“Riotously funny!
LA CAGE could not be more timely or enjoyable.”

Chicago Star Rebecca Finnegan Joins Cast of WORKING‏

REBECCA FINNEGAN JOINS THE CAST OF WORKING

CHICAGO (April 26, 2011) – Broadway In Chicago and the producers of WORKING are thrilled to announce that Chicago star Rebecca Finnegan is joining the cast of WORKING, beginning tonight, April 26, 2011 at 7:30 p.m. at the Broadway Playhouse at Water Tower Place (175 E. Chestnut). Rebecca Finnegan will be playing Woman 3, originally played by Barbara Robertson.

Rebecca is the recipient of two Jeff Awards, three Jeff Citations and three After Dark Awards. Chicago credits include Turn Of The Century directed by theater legend Tommy Tune, Mary Zimmerman's Candide at The Goodman Theatre and In The Bubble, directed by Michael Grief at Northwestern University's American Musical Theater Project. Local audiences have also seen Rebecca in Fiddler on the Roof and Little Women at Marriott Lincolnshire, The Three Musketeers and Seussical with the Tony Award-winning Chicago Shakespeare Theatre, Cabaret at Drury Lane Oakbrook, Timeline Theatre's Fiorello!, Light Opera Work's Cole Porter Review and Theo Ubique's Kurt Weill Review. Rebecca started her Chicago career at the Porchlight Musical Theater in their productions of Company, Closer Than Ever, Sweeney Todd Cabaret and Gypsy. Rebecca will be making her film debut in “LOL” starring Demi Moore and Miley Cyrus.

WORKING is a vital new musical based on the book by Pulitzer Prize-winning author and Chicago’s own Studs Terkel. Adapted by Stephen Schwartz (WICKED, PIPPIN and GODSPELL) from the original adaptation by Stephen Schwartz and Nina Faso, WORKING is the working man’s A CHORUS LINE. A musical exploration of 26 people from all walks of life, with songs by all-star composers Craig Carnelia, Micki Grant, Tony Award™ winning Lin-Manuel Miranda, Mary Rodgers, Susan Birkenhead, Stephen Schwartz and Grammy Award™ winning James Taylor. WORKING celebrates everyday people in a genuinely funny and touching way. WORKING fills you with hope and inspiration and is the perfect musical for everyone who has ever worked a day in their lives.

Produced by Jed Bernstein, Dianne Fraser and Sheila Simon Geltzer, WORKING was adapted by Stephen Schwartz and Nina Faso. It is directed by Gordon Greenberg, with Scenic Design by Beowulf Boritt. Individual tickets for Working are $67.50 - $77.50. A select number of premium seats are also available. 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 St.), 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 Pirie Scott, Coconuts and fye stores), and online at www.BroadwayInChicago.com. For groups of 15 or more, call (312) 977‐1710.

For more information, please visit us at ww.BroadwayInChicago.com

Steppenwolf's WHO'S AFRAID OF VIRGINIA WOOLF? Transfers To Broadway Fall 2012‏

Steppenwolf Theatre Company’s Critically-Acclaimed Production of

Edward Albee’s

Who’s Afraid of Virginia Woolf?

Directed by Pam MacKinnon
Featuring ensemble members Tracy Letts and Amy Morton

with Carrie Coon and Madison Dirks

To Open on Broadway Fall 2012

Exactly 50 Years to the Date of the Original Broadway Production

CHICAGO (April 26, 2011) In celebration of its 50 year anniversary, the critically-acclaimed Steppenwolf Theatre Company production of Edward Albee’s Who’s Afraid of Virginia Woolf? will open on Broadway Saturday, October 13, 2012—exactly 50 years to the date after the play’s original Broadway opening on Saturday, October 13, 1962. Directed by Pam MacKinnon, the Broadway production will feature the original Steppenwolf cast: ensemble members Tracy Letts and Amy Morton with Carrie Coon and Madison Dirks and will open at a Shubert Theatre TBA.

This production of Edward Albee’s Who’s Afraid of Virginia Woolf? originally ran at Chicago’s Steppenwolf Theatre Company (December 13, 2010 – February 13, 2011) and then transferred to Washington, D.C.’s Arena Stage (February 25 – April 10, 2011).

On the campus of a small New England college, George and Martha invite a new professor and his wife home for a nightcap. As the cocktails flow, the young couple finds themselves caught in the crossfire of a savage marital war where the combatants attack the self-deceptions they forged for their own survival. Steppenwolf ensemble members Tracy Letts and Amy Morton face off as one of theatre’s most notoriously dysfunctional couples in Albee’s hilarious and harrowing masterpiece.

The Broadway production will feature the original Steppenwolf creative team: Todd Rosentha (set design), Nan Cibula-Jenkins (costume design), Allen Lee Hughes (light design) and Rob Milburn and Michael Bodeen (sound design).

Edward Albee’s Who’s Afraid of Virginia Woolf? will be presented on Broadway by Jeffrey Richards, Jerry Frankel, Susan Quint Gallin and Mary Lu Roffe (of Chicago) in association with Steppenwolf Theatre Company, Artistic Director: Martha Lavey and Executive Director, David Hawkanson. Richards and Frankel previously teamed up with Steppenwolf to present ensemble member Tracy Letts’ Tony® and Pulitzer Prize-winning production of August: Osage County and Superior Donuts on Broadway. They are also producing Steppenwolf’s production of the Pulitzer finalist Detroit by Lisa D’Amour, directed by Steppenwolf ensemble member Austin Pendleton, set to open on Broadway this fall.

Steppenwolf Theatre Company, Chicago, IL. (Martha Lavey, Artistic Director; David Hawkanson, Executive Director) is one of the nation’s leading ensemble theatres, producing up to 16 productions each year in its three Chicago theater spaces – including programming dedicated to the development of new plays and theatre for young adults. Steppenwolf’s productions have enjoyed success both nationally and internationally, including off-Broadway, Broadway, London, Sydney and Dublin. Formed in 1976 by a collective of actors, Steppenwolf has grown into an ensemble of 43 actors, writers and directors. For additional information, visit www.steppenwolf.org, www.facebook.com/SteppenwolfTheatre and www.twitter.com/SteppenwolfThtr.

"When I saw this production last year I thought it was a brilliant production with star quality performances from Tracey Lett's and Amy Morton and if this should prove successful on Broadway they have a great shot of both being nominated for many acting awards however I am a little surprised that this is moving to Broadway since the revival with Kathleen Turner and Bill Irwin in 2005. A production I saw at the Bank of America Theater which seemed to highlight more of the humor in the play then this production did, still this is Broadway and one has to wonder is it two soon no matter how great the cast is though they make a good argument for mounting it again."

The Resurrection of Haley Reinhart

As everyone who has ever met me, chatted with me, and heard about me they know that along with a few other things in life I'm completely addicted to American Idol. It's actually so bad that on my computer I have every season broken down and separated in folders for performances and then I have sub folders dedicated to songs released before Idol and then of course songs released by an artist after Idol. I even have songs/albums from Idol contestants that I never particularly liked but think that others might want something so I save them. Thankfully this never reached the William Hung phase for now.

I decided to write an article about someone that from the first moment I heard her soulful, bluesy, jazz tones with an unmistakable growl I fell under the power of seasons 10's love her or hate her contestant Haley Reinhart. I have friends who not only find her unbearable but feel like she's the drunk girl at a party you hopefully gets pulled off the stage and silenced for the length of the party. The first moment I remember her was during Hollywood week where she belted out a version of “God Bless the Child” while also looking like a “Sex in the City” Sarah Jessica Parker simply irresistible and from that moment surrendered to her charms.

I know this has been the season of the boys, the season of Lauren's confidence, and the season of Pia's shocking elimination but with all that drama going around I was able to find someone who started out with no love from most people and then on the first voting show turned out a cover of “Fallin” that after many repeated listens is so far from the over-copied Alicia Keys version that you would think it had it's on zip code. I can also agree with the critics who say that Haley's live performances need work. Let's face it all those smiles, flannel mouth, and hand waving can take you right out of a performance, however if we were only going off Idol's live performance argument then a certain Country Superstar diva who during her season performed as if she was a wind-up Barbie doll without the wind-up would NEVER have won compared to her relaxed “seasoned” competitor Bo Bice. I can still remember Simon on the finale begging people to vote for Carrie Underwood because sawas an in experienced performer compared to Bo Bice just so she would win? He might have “forgot” about that part where she had recorded two solo discs and been performing since she was a child but since she looked robotic he had to pass her off as a newcomer and look at her today.

Let's face it out of everyone on Idol this year that is currently left we have a lot of “could” be a LOT better performers. There's the generic Adam Lambert James Durbin who seems to tip the balance on ego/talent so much that after hearing his performance of Muse's “Uprising” not only did he fall off the balance beam but also he smashed the annoying bandwagon to the point that I cringe now when he screams at me, therapy will be next. The other front runner Scotty McCreey, who besides being known for one song that he sang three bars of during his audition has never aimed for anything bigger then boring including the way he holds his microphone, for now we're also stuck with Jacob Lusk, and well nothing else really needs to be said about him. The others remaining are Casey Abrahm's who feels the need to scare people with his facial ticks and a performance style that reminds me of a drunk Dungeons and Dragon player who you keep telling go home and someone keeps egging him on to see how he can embarrass himself just a little further and Lauren Alania who not only look's like an over made DJ Tanner but seems to be the contestant that is talented but the focus on her seems to be the story of Lauren overcoming herself, which she currently at the top 6 she still has not done yet!!

What I love about Haley is she is the only contestant that gets ripped to shreds by the judges, and humorously and doesn't seem to care because she will still be Haley. Case in point re-watch Movie Night's critiques when everyone else is praised by the judges with the lone exception of Haley, and you know ir who seem to not be able to give a negative critique except when it came to her, and then next week what was she able to do? She didn't let it break her and delivered her best performance to date with Adele's “Rolling in the Deep.”

I still haven't come to the point where I think she's going to win but she's doing more now to start making me think it could happen. However the track record Idol seems to have though is just at the moment when you think thatv about a favorite Idol then spring's Country night or songs that work for one contestant but are completely wrong for others and she will probably be voted off though with the music of Carol King I'm hoping that will again play to her strengths but until then I'm going to review her Live/Studio performances to chart her growth on the show and include the television performances.

“Fallin'” (Top 12 girls night)

http://www.youtube.com/watch?v=d8HaC7zCGLs

In her first full performance I can see the criticism that people have thrown at her about her weaknesses. Haley comes across as inexperienced, unsure of herself and seems to overplaying a sex kitten role and it's probably most evident here which could be a reason some people have never warmed up to her as they can't get past their introduction with her. However for this one just listening to her voice you can hear the star quality tone and she plays around with the melody to make a song that is way overdone sound fresh and slightly original. I'm not sure if it was good enough to get her in the top 13 but vocally it does show the promise she delivers later on.

“Blue” (Top 13)

http://www.youtube.com/watch?v=SjOOcgId8Ag

It's risky as an artist selling themselves to the public to do R&B one week and the next week to sing Country but with the exception of a few odd notes in the beginning Haley pulled off a strong vocal and showed a chameleon way about her that I don't think anyone else has shown this season. She kept the hand movements to a minimum and was still able to inject her personality and some interesting vocal moves into the show and looked stunning doing it. It showed a growth from her other performances and another thing I don't think she gets credit for is her personality. She comes across as loveable and doesn't seem to let anything get her down.

“I'm Your Baby Tonight” (Top 12)

http://www.youtube.com/watch?v=BH-zy2ByRqM

In her live performance Haley uses her raspy tone to stunning effect to make a Whitney song that often the girls are told never to do sound like a soulful jazz record and separate it from the original so much so that it's smart enough to be a Whitney song but doesn't invite comparisons to Whitney. What I also noticed in this performance she worked the stage with magic so she does have it in her she just needs . In the studio recording which is outstanding she's able to combine a blues and jazz sound to a pop song and make the large melting pot work sonically. I also give her major props for handling the lipstick on her chin with grace and class.

“You Really Got a Hold on Me” (Top 11)

http://www.youtube.com/watch?v=AOpB0_ihlUg

At the start it's again a little distracting because she seems to performing as if she was The Phantom of the Opera walking down a staircase hunched over while showing some amazing legs in a pair of hot pants that draws comparisons to Seasons 6's Haley Scarnato. However this was also the moment on the show that things seemed to start changing for Haley. You can see the confidence growing in her along with the trademark growl, and the natural bluesy jazz tone to her voice makes for an exciting effect in the song for her. As much as she's critiqued for being all over the place performing wise she's able to go all over the place with her voice and continues to surprise us with it. The studio recording starts off soft and by the end of what I can only describe as a vocal roller coaster she proves that she's serious about winning and it's also nice that the audience started getting behind her at this point with her first non bottom three performance.

“Benny and the Jets” (Top 11 Redux Performance)

http://www.youtube.com/watch?v=w_W3ggsxN4M

The start of performance on the piano has a cabaret feel to it but that's not saying it negatively because she started it small and built it to the showstopper of the night. I have to admit I had never cared for this song before I heard Haley's version of it and it's one of the best I've heard. I love that she starts off sultry and brings up her growls to a basically a Lions roar and you can see why the comparisons to Janis Joplin with her vocal ability are so often used. Again in this performance Haley makes a strong case for why people will either love her or hate her based on certain idiosyncrasies she did for this song but for me I was hooked and picking out china patterns. Also on a night when so many kids decided to be deep and went with ballads she came across as fun and chose an uptempo song that came to life.

“Piece of My Heart” (Top 9 Performance)

http://www.youtube.com/watch?v=_VEMNipvTFc

Haley loses points for picking such an obvious choice for herself and for smiling a little too much during this song but vocally and in delivery she's incredible and sells it with such force and power. She throws in her unique tones to actually make this song sound fresh and exciting to the point that I think this is the best Idol performance of this song. She's was also able to add a sound we hadn't heard from her yet, rock to the rest of the styles she had been employing in her vast vocal melting pot along with blues, jazz, country, and soul all in the same song and I love when she goes full throttle vocally here and in the studio version.

“Call Me” (Top 8 Performance)

http://www.youtube.com/watch?v=a59bRKtyYnY

With Haley making huge leaps and bounds on Idol this felt like a fall backwards and it truly wasn't a Sanjaya performance. This song is so identified with Debby Harry that it's hard to hear anyone else singing it especially someone who has their own unique vocal style as Haley has. I will say though as much as it was a mistake to take on this song it also takes a lot of courage to do this because it's one of those songs that vocally is all over the place and I applaud Haley for being able to stay on it for the most part something that's not easy to do the song is all over the place and for the most past she was able to handle it. Again if you can listen to the studio version because at that point shw I just hate when someone who is moving up the ladder falls backwards because worry if that will happen when there are fewer numbers of contestants..

"Moanin” (Top 8 Results)

http://www.youtube.com/watch?feature=player_embedded&v=UKUZc-5ZoSc

An exciting thing about Season 10's underdog is that for every moment you think you've written her off she comes right back swinging and here she swung with what arguably is one of the performances of the season and not just from her but from anyonr. In her duet with Casey Abrahms Haley did everything perfect. She knew how to work her body and her arms so she didn't look awkward, she made jazz scatting look effortless, she used that growl at the right time and perfectly, and tossed out what appeared to be the full range of her voice with ease. She made supposed front runner Casey look like a bad audition and even had Ryan asking the judges how she did like it was a Wednesday night.. I normally don't think a performance from an Idol on a result show is going to have any effect on them in the competition however I in Haley proved me wrong.

“Rolling in the Deep” (Top 7 Performance)

http://www.youtube.com/watch?v=Cq83mM9Ah6U

Showing her fearless moxie Haley chose a current song by someone who has exploded on the music scene and did it KILLED it. It was for me again one of the best performances of the season and reminded me when Kris Allen sang “Heartless” and proved to everyone that he was much more of a current artist then either Adam or Danny. There were a few performances issues but those are minor compared to her killer vocals. I love the build Haley does in this song ending with unleashing a storm that stays true to the original and yet is completely her own. As of this moment this is Haley's best performance and her best studio recording where she sounds like the love child of Norah Jones and Adele.

On Idol the American public generally picks a contestant and rallies around them to either the exciting finale or an early elimination even though fans on this show can see things like talent, originality, modesty, a sense of humor, personality and growth. If you look at previous seasons these are all things that Kelly Clarkson Fantasia, Carrie Underwood, Jordin Sparks, David Cook, and Kris Allen all of these winners had them in abundance and they're all traits that Ms. Haley Reinhart possesses, now lets see if she can that into an Idol success story.

42nd Taps its magic to the Marriott Theatre

It's fate that within the same period of time that I reviewed Music Theatre Company's production of “Merrily We Roll Along” and talked about memories of a previous production that Marriott would open a production of “42^nd Street” as I still remember the last time they did the show with Brian Marks as Julian Marsh and a stunning Kathy Taylor as Dorothy Brock.

It's been almost 20 years since that last production and in Rachel Rockwell's capable hands this “revival” of 42^nd Street is able to tap dance over that other production with ease, excitement, joy, and quite a bit of sequins.

In leading up to the finale “42^nd Street” has always provided one of the greatest lines in a musical comedy “Musical Comedy, The most beautiful words in the English language.” Those are words to live by that are the equivalent of “I Love You or even “It's Friday.” Whenever you hear them especially from the steely conviction of Tom Galantich's steely Julian March you will not only listen to them you will buy it hook line and sinker.

It always brings a smirk to an audience member when the past is brought up for a contemporary audience but “42^nd Street” has always been brave/lucky in being able to reference the past for a contemporary audience without appearing dated and in this age of over analysis that's more of a gift then anything.

This is a “Big Broadway Production” that is able to work in just about any location with songs that fit the plot with very little if any character development because it wins you over. You get that more then ever with the pounding performance from Kaitlyn Davidson as Peggy Sawyer and the easy charm of Drew Humphrey as Bill Lawlor.

I always felt that even with standout leads the show still belongs to the supporting roles, never was this more evident when Christine Ebersole won the Tony Award for Leading Actress in a Musical for her performance as Dorothy Brock a role played here by Catherine Lord who uses her gorgeous tone to maximum effect here delivering “You're Getting to Be a Habit With Me” and one of my favorites “About a Quarter to Nine”. Also in the standout category is Nancy Voight's wisecracking Maggie whose able to deliver full comedy material and a piercing sound to such classics as “Go Into Your Dance,” and Shuffle Off to Buffalo”

This of course is a show that works not only due to the hard working cast on stage but the hard working crew off stage and major joy is to be found with Rachel Rockwell's detailed direction, Tammy Mader's ferocious choreography, and Nancy Missimi's dazzling costumes. This is a “42^nd Street” that you should tap right over too and see as quick as you can.

Merrily We Roll Along at The Music Theatre Company's

When I was in High school I was seeing someone and to cure our addiction to theater we used to volunteer usher all around the Chicago land area. This was a way that a 16 year old was able to see 5 shows a month and attend some of the greatest theater companies in Chicago. I was able to attend shows at Wisdom Bridge, Halsted Theater Center, Briar Street (way before they were the home of those Smurfs), Remains, and so much more. I was also fortunate enough to see quite a bit of shows more then once and with that at one of the best houses to usher which was the Apple Tree Theater in Highland Park I was fortunate enough to see there production of “Merrily We Roll Along” nine times. I know to most people that might sound like overkill. However for a theater addict that was nothing. I also show several shows at Apple Tree thanks to becoming friendly with the house managers Howard and Jill who were two of the nicest people I had ever met. It was also when I just had discovered Sondheim and the concept that Sondheim had a show that flopped. It was also around the time that I had discovered the joy of the diva and in Merrily had Anne Gunn and the ultimate Chicago Diva Hollis Resnik in the same show. So when we signed up to usher my partner and I booked at least two performances every week, on some we were there Friday, Saturday, and Sunday and on slow weeks we only did one performance. This was also around the point that Hollis was leaving the run early to go Off Broadway with the Goodman transfer of “Wings” and was replaced with Ann Arvia. An actress who physically was quite different from Hollis and was known for being a Metropolitan Opera singer. Her voice was stunning but her acting and the fact that they stuck her in a lot of Hollis costumes were just wrong she was brilliant however in “Nunsense” at Drury Lane Evergreen Park and as the Leading Player in “Zorba” also at Apple Tree.

I bring up this rather long story for I do have a point. As I was watching The Music Theatre Company's stunning production of “Merrily We Roll Along” I realized how much of a memory show this is and that when first viewing it as a 16 year old kid you enter with as much innocence as the character have in their final scene however 20 years later you realize the utter truths in reality that come from the opening scene and the narrative of this show and regardless if you want to or not you apply them to the memories and events of your life.

The show has always been able to in a single sentence both break the hearts of the audience and left others completely cold. It like quite a bit if not all Sondheim challenges you to do the homework while watching the show. You have to follow the narrative which told in reverse order is not easy to do. The opening scene is what “technically” should be the final scene and the finale moments of the show should again “technically” be the shows beginning. In the middle is how the characters fell from where they started coupled with some of Sondheim's greatest songs. Besides confusing the audience the other obstacles the show has built into this framing device is that in reality it's okay to see someone make the same mistake once, even twice but when you see them making the same mistake as all the characters happen to do in Merrily over and over again it leads to a growing resentment of them. Another issue is at the heart of the show is the argument art over commerce and which one leads to happiness. The leading character Franklin Sheppard choose commerce over art and is vilified by his friends for his choice yet though out the show his friends consistent steer him into that direction.

It was fascinating and deeply emotional watching this production of the show as I have such vivid memories even some might possibly say am haunted by the ghosts (to use Sondheim's masterpiece “Follies” as a comparison) by the Apple Tree production. I can still recall Rebecca McCauley's Navy Blue coat and how the strap of her purse would fall down as see sang the heartbreaking lines “Day After Day, After Day” in the classic “Not a Day Goes By” or Hollis Resnik opening the second act in a red dress that she had used in the Marriott's production of “Anything Goes” and her ability to give a master class with her bag vocal ticks and mannerisms that fit the character to a t and her fluid body movements during "The Blob" or how I took for granted Sean Grennan's ability to make an unlikeable character charming. I apologize if all this is coming across as I have a personal connection but truthfully what I learned Saturday night is you can hold tight to the presence of memories but look at the nuances with separate yet time enchanced weary eyes. It makes epic songs such as "Opening Doors" and "Our Time" land in way's that linger with the beauty of passing time. It confirms my belief that one of the biggest lies we hear in life is the saying "If I knew then what I know now I would change it." We wish would or could but quite possibly even with the knowledge we probably would make the same mistakes over and over again.

Hence I was able to see in this nuances that director Jessica Redish was able to create for this specific production such as in the opening silence of Jarrod Zimmerman standing on stage playing the piano and how this production was able to give a conclusion to the piece before any dialogue was spoken that wasn't in previous productions of the show that I've scene. Mr. Zimmerman in what is probably one of the hardest roles in Musical theater is able to suggest both leading man and character actor within the framework of a single song or leading line worked very hard in making the resistible role of Franklin Shepard acceptable if not always a hundred percent successful at being likeable. However the fault lies so much more within the role then with Mr. Zimmerman's portrayal of it. Even his unlikable theatrical brother Joey got to dance.

As his best friend and the second banana Charley Kringas Alan Schmuckler was much more successful at being able to toss off the anger, resentment, and life long love his character has though every movement of his dancing eyes to his failing arms. Mr. Schmuckler was able to shoot out and catch each one of these emotions all at the same moment within the context of the devastating “Franklin Shepard, Inc.”

Completing the trio as the long suffering Mary Flynn is Jessie Mueller. An actress who was otherworldly as Amalia in Writers Guild production of “She Loves Me” and just a few years ago nothing but youthful joy in “All Shook Up” at the Marriott. Anything I had seen her in previous could not prepare me for her work here. In the course of two hours she took you on an emotional roller coaster that went from breaking your heart to laughing out loud at her ability to toss off one liners. Her performance has now entered my memory books along with the work of fellow Chicago thespians Ms, Resnik (Song & Dance), Mrs. Gunn (Evita), Ms. Robertson (Kabuki Medea), Mrs. Santen (The Marriage of Bette & Boo), Mrs. Scrofano (Ruthless!), Mrs. Moniz (Anna Karenina), Ms. Banks (Lost in Yonkers), and Ms. Smith's (Trip to Bountiful) as the greatest female performances I've ever encountered on the Chicago theater scene. There simply was not one false moment in her heartbreak during “Like it Was” or her ferocious panther like delivery of “Now you Know” to close Act One.

In another delicious performance by Stephanie Herman who excludes star quality as Broadway Star Gussie Carnegie she is able to ground a potentially over the top character while singing the lovely “Growing Up” and the intricate “The Blob.” Ms. Herman whose work I've come to love since I saw her in Village Players other Sondheim show “Sunday in the Park with George” is able to stand out as a theatrical presence while delivering the goods in both voice and acting.

As Franklin Sheppard's first wife Beth, Dara Cameron lacked a bit on the vocal heft for such an iconic song as “Not a Day Goes By” however she hit all the emotional truths in the performance to where you cared for Beth as much as you pitied her. Another fine performance was delivered by Jerry Galante who was able to show the fall and then the reverse high of Joe starting at the bottom and by the end being at the top. Excellent work was also done by the ensemble who all were able to sift the time machine like a well oiled baseball team.

Ian Weinberger provided excellent music direction both on and off stage and made Sondheim's music seem easy which of course is no easy task and Jessica Snyders costumes and Nick Heggestad were able to shift though the massive undertaking of time travel as fluidly as water.

Director/Choreographer Jessica Redish had a difficult task of taking this extremely difficult show and like the title suggests move it along if one wished she was able to make the pace move a little faster, I was grateful she was able to make me honor the presence of my childhood past while realizing the nuances of my adult life and I would suggest to anyone to see this production while they can so years later they can reflect on the outlines of their lives because not everyone has to color within the lines as long as art has beauty to you.

“Merrily We Roll Along” plays through May 1 at The Music Theatre Company, located at the Karger Center, 1850 Green Bay Rd., Highland Park.

The Hot L Baltimore

Time keeps moving on as fast and furious as a train regardless if we want it to or not, while the ghosts of our former-selves may linger far longer then they have served their purposes. That's the message that I got from Steppenwolf's production of Lanford Wilson's “The Hot L Baltimore” that's running though May on their main stage. The play set in the lobby of the Hotel Baltimore opened Off-Broadway at the Circle in the Square in 1973 and ran for 1666 performances.

The original Off-Broadway cast featured such future stars as Trish Hawkins, Conchata Ferrell, Judd Hirsch, and Jonathan Hogan playing the residents of the decaying hotel who faced eviction was also adapted in 1975 as a half hour sitcom for ABC featuring Ferral alongside James Cromwell, Richard Masur, and Charlotte Rae but was canceled after only thirteen episodes. It's not a surprise that Steppenwolf famed for their ensemble approach to theater chose an ensemble show what is surprising that at times the show directed by Tina Landau works and at many times falls short of achieving an ensemble feel to the piece.

First let's start off with the things that worked in this production and were able to transport the audience into this gorgeous hotels lobby where time seemed to stop as outside the doors time raced past you in the blink of an eye. Even though this is an ensemble show and most of the cast understood their roles in an ensemble their were performances that still shined separately and were deeply felt characterizations. I especially enjoyed Tony Nominee de'Adre Aziza as the wise cracking prostitute April whose voice is big but heart is bigger. I found Molly Regan bringing a wistful feel for the past as Millie to be quite touching without falling into the trap of being corny. Yasen Peyankov on the other side of the spectrum as the crotchety tenant Mr. Morse was able to make those traits work for his character without seeming like overkill. I enjoyed the work of Kate Arrington as the emotional prostitute Suzy though I found a full frontal nude scene by her thrown in for shock value more then anything else. I also thought Alana Arenas and Namir Smallwood were able to play the fine line between sinners and saints with enough variations were you still felt for both their characters while wanting to avoid them at the same time.

Sadly I can't say the same for Allison Torem's portrayal of the girl who it felt like did not know how to work within the confines of an ensemble piece and define her character. The same applies for Samuel Taylor's, angry and confusing Paul Granger III. In the case of both of these actors I felt like they were throwing their performances so far out in the field that they didn't have a safety net to be able to catch them and were lost though most of the show. I also found the entire concept including the unnecessary stage directions of Sean Allan Krill's character to be a distraction to the piece as a whole. It felt like a device the director stuck into the show to point out their concept in high definition. I got it within the first five minutes however two hours later and when he takes focus out of the characters I was more annoyed then won over by the “concept”.

As is always the case with any production on Steppenwolf's main stage you have to marvel at the detail and beauty of James Schuette run down yet oddly elegant Hotel L Baltimore massive set with it's steep staircase and individual rooms that were as much of an extension of the characters as the beautiful costumes designed by Ana Kuzmnic that ranged from bright 70's inspired pinks and beige’s to the lilacs of yesteryear . The lighting by Scott Zielinski was set to recall all the ghosts of this particular hotel while Mike Tutaj video design was able to help with the visualization of the ghosts from yesteryear. I did feel that the sound design and fight choreography could have been cleaned up a little bit more then it was but while neither added to the piece it didn't distract from it either.

The two most hazardous distractions however to this piece are a little harder to overcome. The first being in Tina Landau's direction where I felt like she worked so hard to prove the value of this piece that she ended up weighing it down with more unnecessary tricks that can be found under the sleeve of a magician. It's interesting because I found her work in The Ballad of Little Jo, and Time of Your Life, to have a lot more more power to it with a bigger concept then a show with little power.

Which brings me to the other hazardous distraction to this piece and unfortunately one that seems to be built into the frame work of the show. I'm sure in 1973 when this show premiered it came across as daring and a world that we could only look into but in 2011 we have either lived though these stories or seen them enough to be desensitized from the shock value that would have been produced when this play originally premiered.

Broadway in Chicago annouces there 2011-2012 Season

BROADWAY IN CHICAGO IS PROUD TO ANNOUNCE THE 2011-2012

BROADWAY IN CHICAGO SUBSCRIPTION SERIES: WEST SIDE STORY; LOVE, LOSS, AND WHAT I WORE; ANN: AN AFFECTIONATE PORTRAIT OF ANN RICHARDS; MEMPHIS; DONNY & MARIE: CHRISTMAS IN CHICAGO; LA CAGE AUX FOLLES AND COME FLY AWAY

Off-season specials include: CHICAGO, MARY POPPINS, ROCK OF AGES, FIDDLER ON THE ROOF and THE ADDAMS FAMILY

CHICAGO (March 29, 2011) - Broadway In Chicago is thrilled to announce the complete 2011-2012 subscription series. The upcoming season will include WEST SIDE STORY; LOVE, LOSS, AND WHAT I WORE; ANN: AN AFFECTIONATE PORTRAIT OF ANN RICHARDS; MEMPHIS; DONNY & MARIE: CHRISTMAS IN CHICAGO; LA CAGE AUX FOLLES and COME FLY AWAY. Off-season specials include CHICAGO, MARY POPPINS, ROCK OF AGES, FIDDLER ON THE ROOF and THE ADDAMS FAMILY. Season ticket packages go on sale to new subscribers this Friday, April 1. Tickets are available now to all shows for groups of 15 or more.

The 2011-2012 Season Series emphasizes Broadway In Chicago’s long-standing commitment of bringing the best of Broadway to Chicago. The complete season line-up, including performances dates and venues, is as follows:

WEST SIDE STORY

July 19, 2011 – Aug. 14, 2011

Cadillac Palace Theatre

More than fifty years ago one musical changed theater forever. Now it’s back, and mesmerizing audiences once again. From the first note to the final breath, WEST SIDE STORY soars as the greatest love story of all time. Directed by David Saint, using Tony® Award-winning librettist Arthur Laurents’ Broadway direction, WEST SIDE STORY remains as powerful, poignant and timely as ever. The Bernstein and Sondheim score is considered to be one of Broadway’s finest and features such classics of the American musical theatre as “Something’s Coming,” “Tonight,” “America,” “I Feel Pretty” and “Somewhere.”

LOVE, LOSS, AND WHAT I WORE

Sep. 13 – Oct. 23, 2011

Broadway Playhouse at Water Tower Place

LOVE, LOSS, AND WHAT I WORE, with its starry rotating cast and wildly entertaining subject matter, is the toast of New York, and the “Best Of The Year!”–Time Out New York. Like the popular book, LOVE, LOSS, AND WHAT I WORE uses clothing and accessories and the memories they trigger to tell funny and often poignant stories that women of all ages can relate to. “Goes directly to the heart, soul, and vanity of every woman, young and old.”–Liz Smith, Variety.

ANN: AN AFFECTIONATE PORTRAIT OF ANN RICHARDS

Nov. 13, 2011 – Dec. 4, 2011

Bank of America Theatre

ANN: AN AFFECTIONATE PORTRAIT OF ANN RICHARDS is a play with Emmy Award-winning stage and screen actress Holland Taylor, from TVs "Two and A Half Men.” This hilarious and touching evening of theatre joyously celebrates a dynamic, inspiring woman and beloved daughter of Texas. From the fiery politician to the compassionate loving mother, Holland Taylor weaves a magical touch of the past and present in this no-holds barred story of Ann Richards that will leave audiences with an enhanced sense not only of a person and a time, but of themselves. Hold onto your hat!

MEMPHIS

Nov. 22, 2011 – Dec. 4, 2011

Cadillac Palace Theatre

TURN UP THAT DIAL... From the underground dance clubs of 1950s Memphis, Tennessee, comes a hot new Broadway musical that bursts off the stage with explosive dancing, irresistible songs and a thrilling tale of fame and forbidden love. Inspired by actual events, MEMPHIS is about a white radio DJ who wants to change the world and a black club singer who is ready for her big break. Come along on their incredible journey to the ends of the airwaves— filled with laughter, soaring emotion and roof-raising rock ’n’ roll. Winner of four 2010 Tony® Awards including Best Musical. Get ready to experience Broadway’s most exciting new destination... MEMPHIS!

DONNY & MARIE: CHRISTMAS IN CHICAGO

Dec. 6, 2011 – Dec. 24, 2011

Oriental Theatre

Spend the holidays with America’s favorite brother and sister team! DONNY & MARIE – CHRISTMAS IN CHICAGO, a holiday production starring America’s favorite sibling entertainers, will play a limited engagement at the Oriental Theatre. DONNY & MARIE are coming to Chicago fresh off their Broadway debut together with the critically acclaimed successful and twice-extended run at the Marquis Theatre in New York. In the holiday tradition of the “Osmond Family Christmas” television specials, DONNY & MARIE invite you and your family to join them to celebrate the joy of the season in true Osmond fashion, in person, as the pair share a Chicago stage for the first time. With a dash of Christmas spirit and their trademark show-stopping production numbers, DONNY & MARIE – CHRISTMAS IN CHICAGO features your favorite hits mixed with the irresistible chemistry that made them international stars.

LA CAGE AUX FOLLES

Dec. 20, 2011 – Jan. 1, 2012

Bank of America Theatre

Three-time Tony Award®-winner including the award for BEST MUSICAL REVIVAL, LA CAGE AUX FOLLES is coming to the Bank of America Theatre. This hilarious new production of LA CAGE AUX FOLLES was the biggest hit of the 2010 Broadway season, leaving audiences in stitches night after night! LA CAGE AUX FOLLES tells the story of Georges, the owner of a glitzy nightclub in lovely Saint-Tropez, and his partner Albin, who moonlights as the glamorous chanteuse Zaza. When Georges' son brings his fiancée's conservative parents home to meet the flashy pair, the bonds of family are put to the test as the feather boas fly! LA CAGE AUX FOLLES is a tuneful and touching tale of one family's struggle to stay together, stay fabulous and above all else, stay true to themselves.

COME FLY AWAY

Jan. 10, 2012- Jan. 22, 2012

Bank of America Theatre

COME FLY AWAY is the new Broadway musical that brings together the legendary music of FRANK SINATRA and the creative vision of Tony® Award-winner TWYLA THARP (Movin’ Out). This one-of-a-kind experience combines the seductive vocals of “Ol’ Blue Eyes” with the sizzling sound of a live on-stage big band and the visceral thrill of Tharp’s choreography. As 14 of the world’s best dancers tell the story of four couples falling in and out of love, you will experience the exhilaration of a first kiss, the excitement of a first dance, and the bittersweet moments of a first good-bye in a world of sparkling romance and astonishing beauty. COME FLY AWAY features a score of beloved Sinatra classics including “Fly Me to the Moon,” “My Way,” “New York, New York” and “Witchcraft.”

OFF-SERIES SUBSCRIPTION SHOWS

CHICAGO

June 7, 2011 – June 12, 2011

Oriental Theatre

As the longest-running musical revival playing on Broadway, the second longest-running musical production currently playing on Broadway and the fifth longest-running production in Broadway history, it must be something in its name that makes CHICAGO so successful! Set amidst the razzle-dazzle decadence of the 1920s and starring John O’Hurley, CHICAGO is the story of Roxie Hart, a housewife and nightclub dancer who maliciously murders her on-the-side lover after he threatens to walk out on her. With a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb, CHICAGO is the winner of six 1997 Tony Awards including Best Musical Revival and the Grammy Award for Best Musical Cast Recording.

MARY POPPINS

Oct. 13, 2011 - Nov. 6, 2011

Cadillac Palace Theatre

This high-flying musical returns, bringing its own brand of Disney magic back to Chicago! Featuring the irresistible story and unforgettable songs from one of the most popular Disney films of all time, plus breathtaking dance numbers and spectacular stage-craft, MARY POPPINS is everything you could ever want in a hit Broadway show! So get swept up in the fun of this dazzling musical the New York Post gives 4 out of 4 stars and calls “a perfect piece of musical theater.”

ROCK OF AGES

Nov. 8, 2011 - Nov. 13, 2011

Oriental Theatre

BACK BY POPULAR DEMAND! In 1987 on the Sunset Strip, a small town girl met a big city rocker and in LA’s most famous rock club, they fell in love to the greatest songs of the 80s. It’s ROCK OF AGES, an arena-rock love story told through the mind-blowing, face-melting hits of JOURNEY, NIGHT RANGER, STYX, REO SPEEDWAGON, PAT BENATAR, TWISTED SISTER, POISON, ASIA, WHITESNAKE and many more. Don’t miss this awesomely good time about dreaming big, playing loud and partying on! Ellen Hager from LA Splash for Chicago raves, “ROCK OF AGES will be the most fun you’ll have all year! It doesn’t matter what your age; this immensely entertaining roller coaster ride through the 80s is something you will not want to miss out on!”

FIDDLER ON THE ROOF

Nov. 22, 2011 - Nov. 27, 2011

Auditorium Theatre of Roosevelt University

FIDDLER ON THE ROOF is the Tony Award®-winning musical that has captured the hearts of people all over the world with its universal appeal. Based on the stories of Sholom Aleichem, FIDDLER ON THE ROOF has been lauded by critics again and again, and won the hearts of people all around the world. Filled with a rousing, heartwarming score, which includes “Tradition,” “Matchmaker, Matchmaker,” “If I Were A Rich Man” and “Sunrise, Sunset,” FIDDLER ON THE ROOF is a timeless classic. No other musical has so magically woven music, dance, poignancy and laughter into such an electrifying and unforgettable experience. Relive a glorious tradition of the musical theatre with FIDDLER ON THE ROOF.

THE ADDAMS FAMILY

Dec. 13, 2011 – Jan. 1, 2012

Cadillac Palace Theatre

Lurching back into Chicago for a return engagement, THE ADDAMS FAMILY is a smash-hit musical comedy that brings the darkly delirious world of Gomez, Morticia, Uncle Fester, Grandma, Wednesday, Pugsley and, of course, Lurch to spooky and spectacular life. This magnificently macabre new musical comedy is created by Jersey Boys authors Marshall Brickman & Rick Elice, Drama Desk-winning composer/lyricist Andrew Lippa (The Wild Party), choreographer Sergio Trujillo (Jersey Boys) and Olivier Award-winning director/designers Phelim McDermott & Julian Crouch (Shockheaded Peter) with creative consultation by four-time Tony Award® winner Jerry Zaks. Come meet the family. We’ll leave the lights off for you.

2011 Broadway In Chicago Season Series ticket holders will receive a multitude of special benefits, including savings up to 69%, priority seating at each venue, ticket exchange privileges, pre-paid and discounted parking, access to gift cards to give tickets as gifts, as well as the first opportunity to purchase additional tickets to future Broadway In Chicago productions, including those not currently listed in the 2011 Season Series. 2011 Season Series subscription packages are on sale now, and are available by logging onto www.BroadwayInChicago.com or calling the Season Ticket Hotline at (312) 977-1717.

Group tickets are currently available for all of the 2011 Season Series shows. Groups of 15 or more may receive a discount on most shows by calling (312) 977-1710. 2011 Season Series subscription packages will go on-sale to new subscribers on Friday, April 1, 2011. Broadway In Chicago gift certificates, which can be redeemed for any production or for season ticket packages, can be obtained at Broadway In Chicago box offices, www.BroadwayInChicago.com or by calling Ticketmaster at (800) 775-2000.

For additional information on Broadway In Chicago shows, please visit www.BroadwayInChicago.com.

I'm excited that we are getting the Tony Award winning Best Musical "Memphis" along with 1st return engagements of "Rock of Ages," "Mary Poppins,"and "The Adams Family," though it's a little surprising that we're given the chance to see the touring cast of "The Adams Family" as opposed to the original cast so soon after it priemed in Chicago. I'm not sure how I feel about seeing the upteenth touring production of "West Side Story," "La Cage aux Folles," "Fiddler on the Roof," and "Chicago" but I think at this point anyone is going to feel that way. I'm also not quite sure how to take Donny and Marie but I've heard that Broadway in Chicago treats their subscribers like gold and at since at point it's Christmas so I'll let others be a Scrooge about it and just enjoy the many blessings that Broadway in Chicago brings.