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.

Summertime keeps going on in Chicago

Congratulations are already in order for Court Theatre's reworked production of George Gershwin's magnum opus “Porgy and Bess”. The production directed by Charles Newell and with musical Direction by Doug Peck has not even officially opened yet and has already added an additional 16 performances. It will now play until July 3^rd and features Todd M. Kryger as Porgy and Alexis J. Rogers as Bess and looks like it could be one of the highlights of the Chicago season.
You can still buy tickets at Court Theatre's website or by calling 773-753-4472.

In anticipation for Court's production they are offering some exciting special Porgy-related events happening soon.

On Tuesday May 24th at 7pm at the Max Palevsky Cinema located at Ida Noyes Halls as part of the Hollywood and Black Cinema there will be a showing of Oscar Michaeaux film "Underworld." "Underworld," a 1937 film about Paul Bronson, a young man lusting after the decadent world of nightclubs and casions is brought to Chicago by local mob boss LeRoy Giles. Paul falls in love with LeRoy's mistress, resulting in a downward spiral of deception, susicion, murder, and revenge. Afterwards, Court Theatre's Redident Dramaturg Drew Dir will lead a post-show discussion.

Through Sunday July 3rd at the DuSable Museum of African American History there will be a "Porgy and Bess" exhibit exploring the controversial history of the Gershwin opera, beginning with DuBose Heyward's novel about the Charleston Gullah community to the opera's Cold War tour behind the Iron Curtain all the way to the 1959 film starring Academy Award winner Sidney Poitier and Academy Award nominee Dorothy Dandridge.

Finally on Sunday May 22nd from 4 to 5pm there will be a free and open to the public discussion regarding Porgy and Bess: The History of an American Symbol at the DuSable Museum at 740 E. 56th Place in Chicago. Join ethnomusicologist Travis Jackson (Associate Professor, Department of Music at the University of Chicago) and Court Theatre's Artistic Director Charles Newell in a discussion moderated by DuSable Education Program Manager Jomo Cheatham as they delve into the history and controversy of the Gershwins' "Porgy and Bess".

Visit the event's webpage for more information.

Robert Brueller & Mildred Marie Langford Join Cast of SoC’s ALL ABOUT EVE

Adding to the already who's who of Chicago theater stars is Steppenwolf ensemble member Robert Brueller and actress Mildred Marie Langford who have recently joined the cast for Season of Concern’s benefit reading of “All About Eve” May 23 at the Mayne Stage at 7:00 pm.

“All About Eve” stars Hollis Resnik as Margo Channing, Larry Yando as Addison DeWitt, Heidi Kettenring as Karen Richards, Steppenwolf ensemble member James Vincent Meredith as Bill Sampson, Peggy Roeder as Birdie Coonan, Northlight Theatre Artistic Director BJ Jones as Llyod Richards, Ross Lehman as Max Fabian, Maura Kidwell as Ms. Caswell, Jon Steinhagen as the Pianist, and Sandra Delgado as Eve Harrington. Brueller plays the Chief Prompter, and Langford portrays Phoebe. Langford was recently seen in TimeLine Theatre’s production of “In Darfur.”

The screenplay is adapted for the reading by acclaimed playwright and television writer David Rambo (“The Lady with all the Answers”, “CSI: Crime Scene Investigation”, “V”) and is directed by longtime Goodman Theatre Associate Producer Steve Scott.

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, Sonia Friedman Productions and David Rambo. 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 are for $45, or two for $80. For more information and to purchase tickets visit www.seasonofconcern.org.

Summer Nights

The production of Grease playing at the American Theatre Company is being billed as the original version of Grease coming home to the city that started it all and in a lot of ways it's different then the original production of Grease that played on Broadway in the 70's and became for a time the longest running show in Broadway history but it's vastly different then the Grease that we know from the film, reality television series, and countless revivals.This is a much raunchier version that doesn't hesitate in portraying teenage kids in the 50's and is directed more to a Chicago audience then ever before, well at least for 40 years. It's not a surprise since the show was created by Jim Jacobs and Warren Casey in 1971 and like many an out of town tryout show had to become Broadway friendly and be able to play to a wider audience. That audience seemed to be expanded with various productions of the show and each time seemed to be stretching the heart of the show. At first you had the original Broadway production that featured such soon to be film and Broadway stars like Barry Bostwick, Adrienne Barbeau, Richard Gere, Patrick Swayze, Judy Kaye, Marilu Henner, and John Travolta during the run. The Broadway Production would run 3, 388 performances only to then be knocked out by “A Chorus Line” as the longest running show in Broadway history for a time. In a rarity for that time Hollywood came a calling and producer Alan Carr added the sounds of the 70's and a 30 something (if not older) cast to play teenagers not to mention a hit Australian recording artist to star in the mega hit movie and the movie was a huge hit. In 1994 a n over the top brightly revival came back to Broadway hosting another group of “stars,” this time not even bothering to make them look like teenagers but hammering home the concept of stunt casting with the likes of Rosie O'Donnell, Megan Mullally, Rex Smith, Brooke Shields, Adrian Zmed, Debbie Gibson, Jasmine Guy, and Linda Blair playing members of the T-Birds and Pink Ladies.

After 40 years the show comes back to Chicago in many different ways. Besides some of the classics you know they've added additional songs and changed some of the ones you could sing in your sleep. One of the most famous songs “Summer Nights'” lyrics have been replaced and the title changed to “Foster Beach.” They've also added location specific references that hit here but would probably be lost outside of Chicago. It's also nice to see a cast that looks closer to the age of their characters then many other productions. Another interesting concept in this newer production is having the senior citizen versions of some of the Rydell High's most colorful characters incorporated into the show.

After all these years American Theatre Company has found a way to shock you with a little show called Grease but once the initial show is over with you'll find yourself surrounded by old friends and feeling like you back at home sweet home.

Playing from April 21^st though June 26^th though most of the run is already sold out for ticket information call 773-409-4125.

Hollis Resnik has a busy season coming up...

Isn't Hollis Resnik an acronym for always working?

I remember that being said about her as an introduction at the Candlelight Forum. It was for a benefit for Dale Benson's wife who had just past away and all of Chicago's stars were getting together to perform and raise money for the medical costs. However many years later those words still hold true for Ms. Resnik.

Not only did she recently finished a run as Fraulein Schneider in “Cabaret” at Kansas City Repertory and just after winning a Helen Hayes award for her performance as the Old Lady in “Candide,” which she originated at the Goodman Theater Ms. Resnik recently posted on her website her upcoming appearances in Chicago and it looks like a pretty exciting season for fans of hers.

It all starts with her appearance as Margo Channing in a staged reading of “All About Eve” for Season of Concern that will take place at the Mayne Stage on Monday May 23^rd, 2011. Along with an all star cast featuring Ross Lehman, Larry Yando, Heidi Kettenring, Peggy Roeder, and many more this looks like an exciting night. If only they could break out a few numbers from the musical version “Applause” this would already make an already wonderful night seem like heaven.

http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=3652155&pl=mayne

Then in July the talented diva will be performing “Hollis Resnik in Concert The New Age Revue” along with Northwesten Students. She will be doing this at The Barber Theatre on the campus of Northwestern University in Evanston running July 31, August 1 and 2^nd.

Tickets

847-491-7282

After a break from that Hollis will then be appearing in Gary Griffins high anticipated production of Stephen Sondheim & James Goldman's masterpiece “Follies” at Chicago Shakespeare Theater. No word yet on what role she will be playing but when Hollis did this show for the Chicago Humanities Festival last year she played Sally. “Follies” will open October 4 and run though November 6, 2011.

http://www.chicagoshakes.com/main.taf?p=2,62,4

And to top it off Hollis will also be starring in another highly anticipated Chicago production when Court Theatre does “Angels in America parts 1 & 2” running March 30^th to June 3^rd 2012 and directed by Charles Newell. Again no word on who Hollis is playing but one can only imagine with the meaty roles that this show provides.

Individual tickets have not gone on sale yet.

And that's not even counting anything she could be doing during her time off between those shows. I've been hoping for a follow-up her wonderful debut disc “Make Someone Happy” a collection of songs that Ms. Resnik loves to sing and is often found on my CD player. It's a must have for any Diva lover especially for her original arrangement of “How Do You Solve a Problem Like Maria” and I think she's the first artist to record a song from each of “The Wild Party” musicals and a number from “Book of the Night” a show she did at the Goodman Theater. I'd love a new disc featuring songs from some of her greatest roles.

Merrily We Roll Along keeps rolling along till May 13th

THE MUSIC THEATRE COMPANY EXTENDS

MERRILY WE ROLL ALONG

Through May 13^th

(Highland Park, IL) – Due to sold out performances, The Music Theatre Company, Highland Park’s equity theatre is extending – for a second and final time - its production of Stephen Sondheim & George Furth’s Merrily We Roll Along, directed and choreographed by Founding Artistic Director Jessica Redish. The production will run until May 13th at The Music Theatre Company at the Karger Center, 1850 Green Bay Road in Highland Park.

PERFORMANCE DATES

8pm on Monday, May 9, Wednesday, May 11 and Friday, May 13^th

Jeff Nominee Andrew Mueller takes over the role of Charley Kringas, currently played by Alan Schmuckler. Mueller recently received a Jeff Nomination and rave reviews for his portrayal of Huck in Big River at BoHo Theatre.

Tickets are $35 and can be purchased by visiting: www.themusictheatrecompany.org or calling 847.579.4900.

LIGHT OPERA WORKS presents BRIGADOON June 4-12, 2011

LIGHT OPERA WORKS PRESENTS
BRIGADOON
June 4-12, 2011

Book and Lyrics by Alan J. Lerner
Music by Frederick Loewe
Directed and choreographed by Rudy Hogenmiller
Conducted by Roger L. Bingaman

Performance Schedule - Saturday, June 4, 2011, at 8 pm
Sunday, June 5, at 2 pm
Wednesday, June 8, at 2 pm
Friday, June 10, at 8 pm
Saturday, June 11, at 8 pm
Sunday, June 12, at 2 pm

Where

Cahn Auditorium
600 Emerson Street, Evanston, IL

Tickets
Main Floor - $48, $68, $77 and $92
Balcony - $32, $48, $68 and $77
Ages 21 and younger 1/2 price
(847) 869-6300
www.LightOperaWorks.com

Evanston, IL: In BRIGADOON, as a heavenly mist caresses the highlands of Scotland, two young Americans embark on an adventure they'll never forget. The village of Brigadoon comes to life just one day every 100 years, but that's all it takes for Tommy to fall in love with the fair lassie Fiona.

The score, by the creators of MY FAIR LADY, includes the Broadway classics "Almost Like Being in Love," "The Heather on the Hill" and "Waitin' for My Dearie."

BRIGADOON is directed and choreographed by Light Opera Works artistic director, Rudy Hogenmiller and conducted by Light Opera Works music director Roger L. Bingaman.

Casting for BRIGADOON includes Robert Hunt (Tommy Albright), Jennie Sophia (Fiona MacLaren), Clay Sanderson (Jeff Douglas), and Maggie Portman (Meg Brockie).

The design/production team for BRIGADOON includes Nick Mozak (Scenic), Ricky Lurie (Costume), Sienna Macedon (Hair and Make-Up), Charles Jolls (Lighting), Miles Polaski (Sound), Julia Eberhardt (Properties), Katie Beeks (Stage Manager) and Paige Keedy (Production Manager).

The Opening Reception for BRIGADOON is sponsored by Whole Foods Market Evanston.

BRIGADOON is Light Opera Works' first production of 2011. The season will continue with the classic love story THE STUDENT PRINCE (August 18-28), RODGERS & HART: A CELEBRATION (October 2-November 6) and Tony Award winner THE SECRET GARDEN (December 26-January 1).

Discounted season ticket packagaes are still available.

Ticket prices for BRIGADOON range from $32 to $92. Ages 21 and younger are half price. To order tickets, or for more information, call the Light Opera Works box office at (847) 869-6300 or order 24 hours a day online at www.lightoperaworks.com

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. 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.
Light Opera Works' mission is to produce musical theater from a variety of world traditions, to engage the community through educational and outreach programs, and to train artists in musical theater.

White Noise at Royal George Theatre

Starting off with white lights flashing and the music blasting you get the impression that you are at a rock concert, only this concert seems a little more sinister, a little more uncomfortable to sit through. A beautiful blond girl in tight gold lame is belting out a tune called “Welcome to Eden” with dancers doing goose stepping while dressed like members of the Nazi party. As the pretty blonde girl sings about recruiting little darlings to Eden you get the impression that the message in this song is about recruitment of something completely different.

From that moment on and though out the rest of the shows hour and fifty minutes, "White Noise" proceeds to challenge its audiences to think and to be uncomfortable. The shows premise is how the music industry in order to make money will change people into being more acceptable to audiences thus being able to hook their fans into what ever believes those artists have though coded music.

The driving force behind this is music producer Max no last name who has already sold his soul to the devil and passed go, played with a larger then life oily charm by Tony Nominated Douglas Sills. Max one music group under contract, brothers Dion and Tyler played by Wallace Smith and Rodney Hicks. These brothers are well educated students who are willing to change their image into thug rappers the Blood Brothers in order to make themselves more marketable.

One night Max and his writer/producer partner Jake played with bristling anger at the moral dilemma he's faced with but who's also willing to sell his soul at the drop of a hat Eric William Morris, plan on going to see a sister act Eden and Eva play at a club. It turns out that Eden and Eva along with Eva's boyfriend Duke are all white supremacists. They play catchy offensive songs about illegal immigrants and even a song called “Welcome to Auschwitz.” Max seizing on the potential these girls have both in appearance and musically signs them and convinces Jake to join the band to modify their lyrics for a broader appeal and to prevent them from saying anything that could ruin the carefully constructed image Max is planning on creating for them.

The show then follows the rise of these two sisters and how they're willing to change their message to appeal to a wider demographic while Dion and Tyler are trying to change the demographic that they were originally sold too. Also there's a love story where Jake falls for one of the sisters Eden who doesn't share her family’s beliefs and a smaller story involving their mother played with grace by huge voiced Broadway and recording star Luba Mason. If you ever get a chance to pick up a copy of her album “Collage,” a disc I've owned for quite some time.

It's a fascinating story that makes you wonder how far the music industry and the buying public are willing to go to having a catchy song with an addictive hook, and then where will that hook lead us to after wards. The song “Welcome to Auschwitz” is turned into “Welcome to Eden” with similar lyrics but a different title and becomes a hit. As the song gets bigger and they find ways of coding their music to appeal to a larger audience they attract the attention of an internet blogger Teal Waters fashioned off from Perez Hilton played to the height of camp by Michael Buchanan. If this had a life after Chicago the writers might want to explore getting rid of this character and replacing it with possibly a reporter with a moral edge in order to show that someone in this piece has one.

I felt like there were a lot of stories going on here and the parts with the brothers could have been trimmed to focus more on the sisters relationship and the relationship between Jake and Eden. At one point I felt like Jake was using Eden to further his career and if there's going to be any stakes between the two it would help if that was tighten up a little bit more.

I also thought the songs which reminded me of an unpolished “Dreamgirls” but could involve into a powerful score. Right now there were songs that stood out for the power of the music and strength of the lyrics which helped during the uncomfortable songs. Some of the best pieces were wonderful songs like “Welcome to Eden, “Love Stories,” “Mondays Suck,” Not Your Enemy,” and “Fireworks” and with some fine tuning could be even greater songs. I do wish that possibly the sisters might each have their own solo at some point to explain their personal beliefs or how they feeling at success coming their way but that's just my opinion. This is a show that survives on the power of its score and that's not to slight the book which is strong on it's own. I just worry that the subject matter is so controversial that people will have a hard time getting past that to understand the message of the piece.

Two things that the audience will not have a hard time getting past is the performances of the two leading ladies. As sisters Eva and Eden actress Mackenzie Mauzy and Emily Padgett couldn't be more different then night and day. Eva (Mauzy) is the angry one leading her hate into the Nazi party and Eden (Padgett) is the sister who is the heart of the show trying to please her family without sharing their beliefs. They're great parts and the actresses tear into them with their powerhouse vocals and play off each other well. The only thing I would have liked to have seen more is some additional scenes or a song about the bond they have as sisters.

Overall this is a very intense show that has a lot to say and does it well. I'm not sure if they can get over the issue with how uncomfortably it can make an audience feel probably by building on the bond of the sisters, maybe defining the mothers stance, and punching up the humor and tightening the songs but overall there's a lot of potential in this piece and I hope that it makes it.

Working at the Broadway Playhouse

“I hear America singing” are the words sung by workers at the beginning of “Working”. A musical based on the stories of Studs Terkel that is currently enjoying an open run production at the Broadway Playhouse. With those words you feel a collective voice joined together to show that everyone no matter how big or small their jobs contributes to the foundation of America.

The show originated on Broadway in 1978 and had an impressive starry cast featuring Joe Mantegna, Bob Gunton, Lynn Thigpen, and Patti LuPone and closed after 24 performances and 12 previews. The show had invited many famous songwriters to contribute to the piece with music provided by Stephen Schwartz, Craig Carnelia, Mary Rodgers, and James Taylor. However a cast recording and a PBS video with a different cast were made to see that the show would survive and be done again.

This updated version of the show has been revised with a current sensibility and some of the songs from the original were dropped such as “Neat to Be a Newsboy,” “Lovin' All,” and “Un Mejor Dia Vendra” with two songs “Delivery” and “A Very Good Day” written by “In the Heights” Lin-Manuel Miranda” who has a contemporary style that can be picked up within the first few notes.

The problem with the show more then the production is that after the first few monologues there is a repetition that creeps in and feels like it could have ended in thirty minutes. The business man sells the joys and the pains of his job, then the schoolteacher does the same, then the fireman, and so forth which would have been fine if you had more variation in the songs However with a lot of the songs sounding like easy listening ballads it doubles on the repetition of the monologues.

However, that aside there is a lot in this show to enjoy and this is an excellent production, from director Gordon Greenberg's concept of having the show start off with the actors getting ready in a way to show that they are just as much part of the this world as every other character that they inhabit.

Also another joy to be found in this production are the actors who transition with ease from worker to worker and give us fully realized characters. All of the Chicago actors are a nice mix of local stars with some outstanding newcomers. E. Faye Butler shines in the hooker monologue and stops the show with her song “Cleanin Women” displaying that huge belt she always does, Gene Weygandt does a touching rendition of the ballad “Fathers and Sons” and shines in his scenes. A new addition to the cast Rebecca Finnegan, who is replacing Barbara Robertson has some great comedic moments and gets to display another powerhouse voice during her big solo “It's an Art,” Emjoy Gavino gets the show's best number “Millwork” and delivers it with sensitivity and grace, Michael Mahler has a great comedic monologue about his career as a hedge fund manager and also does a nice job on “The Mason,” and Gabriel Ruiz brings comedic gold as an ex-newsroom assistant while handling one of the newer songs “A Very Good Day” with the right amount of emotion.

The stories told though Studs Terkel's interviews show a collection of people wanting to make their mark in the world and prove their usefulness. They take pride in their common goals and show that there is so much more about someone then what they do. It's something that can hook an audience and is easily identifiable to anyone seeing the show. I just wished it would have shown some variation in both the monologues and songs in order to build the show's structure to what it could have been.

Spring Awakening at the Ford Center for the Performing Arts

Spring Awakening opening at the Ford Center for the Performing Arts and playing thru May 8th is a frustratingly beautiful musical that can hit you on so many different levels during the show and then when it's won you over it can then turn on you, with a why did that happen moment. Just like any teenage it felt like it had something to say but didn't know how to say it and then wanted to be several things all at once leaving no connection but in the end some hidden beauty that the viewer had to inject for themselves.

The show based on the 1891 Frank Wedekind play, is a combination of sexuality, morality and lots of rock and roll that allows teenagers to feel that they are not only misunderstood but are cool for for it. When the show opened on Broadway in 2006 it went on to win 8 Tony Awards including Best Musical and the cast recording picked up the 2008 Grammy Award for Best Musical Show and it's easy to see why. The music shifts the gamut from achingly beautiful ballads “The Word of Your Body,” “Blue Wind,” “Touch Me,” and Whispering” to full out arena rock songs like “The Bitch of Living”, “Left Behind,” and the showstopper “Totally F*****.” When these songs are put to the visuals of the staging and performance they can be spellbinding and stick with you far after the show is over with.

The cast is uniformly excellent Jim Hogan as Georg takes his lead role and dominates the proceedings with ease and turns on a rock star performance, Elizabeth Judd as Wendella is filled with innocence and a gorgeous singing voice. Coby Getzug's is given a difficult task of playing what could otherwise be the annoying friend and makes it a sympathetic character who has trouble handling the confusion of life and Courtney Markowitz injects Ilse with a stunning voice and a memorable sadness and is able to connect the dots with a character that doesn't seem to be there. These are characters as played by this talented cast who are feeling lost in their time but trying to find an identity while staying true to themselves basically anyone who is going though the difficulties of growing up and the hardships of the adults around them.

The Direction recreated from Michael Mayers original Broadway staging is handled by Lucy Skilbeck with the tour Choreography being done by Joann M. Hunter and this is where I had issues with the show itself. It felt like it was a smaller show being directed with moments of concert aspirations and it left me wondering if the show itself could survive without this over the top production values. It left confused as I thought there were scenes where the Director and Choreographer did more then they were required to and made things work as in “Left Behind” and turning Moritz into a wanna be rock star in “Don't Do Sadness” and then I thought there were moments that took me out completely from the moment as the use of hand held mikes when they clearly had body mikes most noticeably distracting when Wendela used one during “The Guilty Ones” and should have been a scene showing the magic of first love and not how we can switch from theater to rock concert in the blink of an eye.

It left me puzzled if this show could survive without the fascinating yet sometimes frustrating structural show concept and there were parts I felt torn during. As if this was a decision to further the show or a decision that felt like it was holding the show back which in essence is the definition of the right of passage for most teenagers into adults.

A Twist of Water at the Mercury Theater

“Chicago has always been about the water” is a line uttered at the end of “A Twist of Water” by Stef Tovar and though out this love letter to Chicago you realize our home is so much more then just the water. It's a city of dreams, hope, resilience, a city that every time it's knocked down picks itself up, dusts itself off and says look at me I'm back. Which the same can be said for Route 66 searing beautifully done production of this original play that re-opened last night also at the re-opened Mercury Theater now under the Executive Director L. Walter Stearns who himself just opened up his final production at Porchlight Musical Theatre Chicago the wonderful “The King and I.” running though June 5^th.

Route 66 Theatre Company's Artistic Director Stef Tovar as Noah, a gay widowed history teacher explains to his students the origins of Chicago. “He wants them get a sense of history, a sense of family and unity and in this marvelous original play we get the same feeling.

You see Noah is raising his adopted daughter Jira played with intensity by Falashay Pearson. Jira like most 16 year olds is angry at her father for everything but mostly because her other father passed away within the past year and she uses Noah as an outlet for that anger. Jira needing more of a sense of family at the loss of her current is seeking out her birth mother. To complicate matters for this family Noah has started a friendship with a fellow teacher played with a deadpan comedic brilliance by Alex Hugh Brown who is also at the beginning stages of a relationship with Noah and Jira's English teacher.

This story is told beautifully by playwriter Caitlin Montanye, directed with emotional truth by Erica Weiss and featuring a stunning realistic performance by Stef Tovar, who finds truth in his performance thought out the show.

It's rare to find a play that speaks so honestly and truthfully of the city, of an inhabitants, the history, and of love and finds such a poetic way that doesn't feel forced but this show finds it and delivers it in a way that will knock you out. This is simply a must see for anyone in Chicago as for it's as much a love letter to this city as any building, park, or sports team.

RECORDINGS REVIEW PART I

Just released CAST RECORDINGS

Women on the Verge of a Nervous Breakdown

http://www.sh-k-boom.com/womenontheverge.shtml

In November 2010 David Yazbeck and Jeffrey Lanes new show opened at the Belasco directed by Bartlett Sher and featuring a dream cast with Sherie Rene Scott, Brian Stokes Mitchell, Laura Benanti, Danny Burstein and Broadway Icon Patti LuPone. It was met with mixed reviews and ended up closing a week earlier. Based on the delightful cast recording just released by Ghostlight is should have played longer but here's hoping that it will find success in regional productions.

I've seen the Pedro Almodovar's 1988 film however missed the musical live but on evidence from the recording the music is character driven, catchy with some lovely melody's thrown in. The performers all do excellent work here with notable turns from Sherie Renee Scott's on “Lovesick,” and “Mothers Day,” Patti LuPone gets the 60's inspired “Time Stood Still” and the jazz infused “Invisible” while as she did on the stage Laura Benanti stops the disc with “Model Behavior.” There are other pleasures on this recording such as Madrid is “My Mama,” “On the Verge,” “Tangled,” and the lovely “Shoes from Heaven.” This is defiantly a cast recording to purchase and would not surprise me enters into the group of shows that people will talk about years later.

Priscilla Queen of the Desert (Rhino Records)

http://www.amazon.com/Priscilla-Desert-Original-Broadway-cast/dp/B004LSJCKQ/ref=sr_1_2?ie=UTF8&qid=1301512417&sr=8-2

Opening up this season to almost positive reviews revues is the new musical based on the hit film. The creators of Priscilla have decided instead of coming up with an original score to throw in a bunch disco hits and use them as semi character pieces. I'm sure they think their audience attention span lasts as long as one of their tricks. I don't understand why they feel like singing songs that usually have no emotional content in them not to mention most of them don't even have lyrics but these are supposed to be the advancing a plot. Oh wait, sorry that was my first mistake, I thought there was a plot in this show. It's not a bad to have the original Broadway Cast on record but I can't see why someone wouldn't go out and just program all these songs together on their system.

Sister Act The Musical Ghostlight Records)

http://www.sh-k-boom.com/sisteract.shtml

Opening up last season in London to mixed reviews and then getting some tweak’s before it re-opened on Broadway with it's London Star American Patina Miller and a brand new cast for Broadway including Tony Award winner Victoria Clark. However this is a recording of the original London cast with no mention if they are in to record the Broadway cast it probably depends on how big a smash the Broadway production is. I'd like to say to the creators of Priscilla to please buy a ticket to “Sister Act” to see a show that uses a movie as it's adaptation and creates new original music that evokes the sounds of disco but is also able to advance the plot and oh I don't know the characters. From the fun disco inspired “Take Me to Heaven” and Fabulous, Baby,! The musical lessons and “Raise Your Voice” leading lady Patina Miller handles the score with easy and a wide vibrato and a husky sound. This is a star making role and she handles it with ease.

And now for the SOLO RECORDINGS

Paul Motondo "This Time Around"

http://www.cdbaby.com/cd/PaulMotondo

How often does one get a second chance in life and if we get one would we do with it. Cabaret performer Paul Motondo explores this idea in his solo act which his first CD is based upon.

Paul's best numbers are the wistful “Anyone Can Whistle” which highlights his gorgeous unforced low notes and shows off a rich vibrato that some would kill for. His cover of a Steven Lutvak song called "The House That I Grew Up In" felt like this was a moment where the song, the performance, and the vocal fit together and was utter perfection. I also enjoyed his take on Michael Buble “Everything.” The only thing that I had small issues with, was I wish he had used a little more vocal power and coloring in his voice for something like “You Will Be My Music.” I can't wait for the next one.

Alice Ripley “Daily Practice – Volume 1

http://www.sh-k-boom.com/dailypracticevol1.shtml

Helen Hayes & 2010 Tony Award winner Alice Ripley who is currently starting in the Tony & Pulitzer Prize Award winninf “Next to Normal” in Chicago released to what many of her fans though musical theater felt was a departure album called “Daily Practice - Volume 1” though she has put several alternative rocks CD's both as a soloist and with her band Ripley. On this recording she does all covers with just an acoustic guitar and while I assume she wants to strip down the arrangements to make it sound more heartfelt I think it majorly losses something in the driving force or yearning that a lot of these songs have. These are good versions of great songs and with a voice like hers if she had them with a few additional instruments this would be an explosive album. I do think she does a great job with “Message in a Bottle,” “You Oughta Know,” “Thunder Road,” The Flyer,” and “Everbody Hurts” as a warning to her Broadway fans she appears not to be using the chest belt sounds she's known for going with a whiskey soaked sound that's effective just different.

If your in Chicago Mrs. Ripley will be playing a one night one concert at Stage 773 information is located below:

http://www.stage773.com/showDetail.aspx?uniqshow=71

Sutton Fustor An Evening With Sutton Foster – Live at the Café Carlyle’!

http://www.sh-k-boom.com/suttoncarlyle.shtml

Who has had a road to Broadway that should one day make for an interesting something. She turned down a starring role in a National tour of Les Miserables to play a chorus member in a musical called “Thoroughly Modern Millie” Well a couple days before opening the leading lady left and Sutton stepped into the title role and won a Tony Award for Best Actress in a Musical. Since then she has racked 4 Tony Nominations and out of 5 Nominations 4 of those are for roles that she created a feat almost unheard of today. This live disc features a lof songs that can be found on her “Wish” album which isn't a bad thing as I enjoyed that but it make you wonder why you have to buy an album where as you've already heard the artist do the same songs and especially an artist who's only released two solo discs. Of the newer stuff I liked the medley of roles she played, I enjoyed Show Off, I loved her Defying Gravity which also proved why she should never be allowed to play that role on stage. I also liked her Anyone Can Whistle/Being Alive I didn't for her “And I'm Telling You” because I felt like it was such a pale imitation instead of coming up with something fresh and new.