tag:blogger.com,1999:blog-59520217494173054412024-03-13T10:46:33.629-05:00A STAGE TO PERFORM ONA place about some of the most wonderful things out there within the arts. This is a site for all the arts an anything connected to the arts. Expect a little bit of this and a little bit of that. Anything from Theater, Film, Television, Recordings, to the performers themselves.StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.comBlogger131125tag:blogger.com,1999:blog-5952021749417305441.post-82558776073642955802012-05-05T03:35:00.000-05:002012-05-05T03:35:24.807-05:00tick,tick...BOOM! at Porchlight Theater<div dir="ltr" style="text-align: left;" trbidi="on">
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In this particular moment, we are here
alive and feeling and let us make the most of this moment, for we do
not know what the future holds. Those words are not uttered by any
character in Jonathan Larson's “tick, tick...BOOM!” that opened
at Stage 773 last night and concludes Porchlight Music Theatre 2011 –
2012 season but it is the obvious theme that is present though out
the show and in his other piece the Pulitzer Prize and Tony Award
winning rock musical RENT. It's certainly the theme of Jonathan
Larson's short but well documented life which serves as the the basis
for the one man show that was re-shaped by Pulitzer-Prize winning
playwright David Auburn and presented off-Broadway at the Jane Street
Theater in 2001.</div>
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Tick, Tick....BOOM! Tells the story of
Jon an aspiring composer, who lives in New York City in 1990 and
close to is 30<sup>th</sup> birthday is frustrated at where his
career in musical theater is and more importantly where is life is.
Jon is torn worried that he hasn't contributed anything of note while
his best friend Michael has given up his passion for acting for a
successful career in Marketing and his girlfriend Susan wants to
leave the stress of the city and settle down for a simpler future.
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Jonathan Larson writes passionate
anthemic music that can leave you at the moment exhilarated and
emotionally devastated such as he is has with Johnny Can't Decide,
Real Life, See Her Smile, Come to Your Senses, Why, and Louder Than
Words. All songs that rise above the story and can affect the
listener on a deeply personal level the only problem is that they
like is general theme are all very much of the moment and not
something that are easily relateable or memorable to everyone.</div>
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Which is not to say that there is not
an audience for these songs or that this is not memorably powerful
music in story that everyone who is of a certain younger lost
generation can relate to. It is and it is stuff that if you are
inclined to see this point of view can haunt you and stay with you
for quite a while. However for the other half of the audience who is
probably more inclined to be on the side of his best friend Michael
might leave unmoved and left out, the ones who realize how important
today is but still can't ignore the incoming future and if nothing us
make sure they are prepared for it. Those who have a harder time just
letting go and living life for today without fear or consequence for
the future would have a completely realistic yet different viewpoint
on the show and might not succumb to the raw emotion this music much
like rock music provides.
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However all of this is built into the
piece itself and to a larger degree Jonathan Larson's work in
general, it is in no reflection attributed to Porchlight's stellar
production directed and choreographed by Adam Pelty who directs his
small cast to convey all the emotional confusion with impending
adulthood while never choreographing a step that doesn't look
or feel unnatural. </div>
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In in the exhausting leading role
Adrian Aguilar projects so much honesty and isolation not too mention
while belting the vocally difficult role like its nothing. At the
beginning I was worried that the band was a little excited and would
drown him out but by the finale “Why” he soared at the right
moments and had the audience eating out of the palm of his hand. As
his friend Michael Bear Bellinger displayed some lovely towns in the
intensely dramatic “Real Life” is able to show that other side of
the piece. The friend who has given up on fantasies and wants to
prepare for the reality of the future in order to forget about the
harsher realities of today. As his girlfriend Susan and the only
female in the piece Jenny Guse reminding me of another Chicago
favorite Roberta Duchak (long absent from the Chicago stages but
currently music directing Writers Theater's upcoming production of “A
Little Night Music”) doesn't sacrifice the realistic needs of the
character for wanting something different in life even at the expense
of what the leading man wants. She sells her two solo's Green Dress
and “Come to Your Senses,” which as a personal note this reviewer
wishes would have been included as a character song instead of song
within the show as to maximize the full potential of it being an
emotional knockout piece.</div>
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Jonathan Larson wanted to write rock
music for the theater and without a doubt he has succeeded. He has
written music that speaks to a particular generation, a particular
type of person, and a particular time in someone's life when that
person can forget regret and believe that there is no day but today
however with that said just like any really good rock music out there
his music depending on their perspectives can divide an audience
just as much as it can bring them together.</div>
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Porchlight Music Theatre presents
Jonathan Larson's tick, tick....BOOM!, directed by Adam Pelty with
music direction by Diana Lawrence, at Stage 773, 1225 W. Belmont
Ave., April 28 – June 10. The performance schedule is Fridays at
7:30 pm., Saturdays at 8 pm. And Sundays at 2 pm. There is an
additional Friday June 1 performance at 10 pm. Single tickets are $38
with group and student discounts available. All tickets are
available at stage773.com, porchlightmusictheatre.org or by phone
773.327.5252.</div>
</div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com2tag:blogger.com,1999:blog-5952021749417305441.post-51871909549318146952012-04-20T02:58:00.000-05:002012-05-07T04:03:03.373-05:00HAIRSPRAY at Drury Lane Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
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You can't stop the beat or as director Tammy Mader has proven in Drury Lane Theatre's infectiously delightful production of the Tony Award-winning “HAIRSPRAY” that opened tonight and is running through June 17<sup>th</sup> nor would you ever even want to.</div>
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Based on the 1988 John Walters cult classic film, that starred a young Ricki Lake and was the final film for Walter's muse Divine, which was then turned into a hugely successful 2007 movie musical that starred John Travolta and Michelle Pfeiffer . HAIRSPRAY is the exuberant story of big-hearted, pleasantly plump teen Tracy Turnblad played with charm and heart by the adorably big voiced Lillian Castillo. Tracy will stop at nothing to fulfill her lifelong dream of appearing on the popular Corny Collins Show (Rod Thomas whose voice is as big as his smile) and win the heart of the coolest kid in town Link Larkin played by Erick Altemus who is all teen idol mixed and is able to make his character land. As Tracy's parents one wishes that Saturday Night Live cast member Tim Kazurinsky had more charm and possessed additional chemistry with Jeff Award winning Michael Linder who is comedic gold as Edna Turnblad. </div>
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In additional roles as Penny Pingleton Rebecca Pink steals every moment she is on stage and possesses one of the largest voices I've heard in the role and Holly Lyn Laurent as Amber nails the ruthlessness of the role without sacrificing any of the camp. Speaking of being ruthless as the villain of the piece one misses the haughty grandeur that Hollis Resnik brought to the role in the Marriott Linolnshire production a few years back but one can't ignore Keely Vasquez's star quality and sensational voice. </div>
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Sadly I'd say the one disappoint in this sensational cast is Tony Award Nominee Felicia Fields as Motormouth Maybelle. Ms. Fields a Tony Award nominee for Outstanding Featured Actress for her role in The Color Purple on Broadway seemed to be missing the vocal heft for the role and the drama that could have made her big solo “I Know Where I've Been.” I've witnessed Ms. Fields perform ever since I first caught her at a benefit for Dale Benson at the now defunct Candlelight Dinner Playhouse where she stopped the show with a rendition of Family from “Dreamgirls.” The woman has vocal flourishes to spare and can sell a performance like its no ones business which she proved in an impromptu bit right before the second act finale so maybe it was just an off night for her.</div>
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It's amazing that a show such as HAIRSPRAY that is currently so popular and probably in the DVD players of so many kids today plays so fresh and doesn't miss any of the well orchestrated laughs that are built into the piece, from the opening wake-up scene all the way to Edna's entrance at the end. This is all due to the talents of director and choreography Tammy Mader who makes everything work so well and pop on stage. She's ably assisted by assistant choreographer Ariane Dolan and musical director Malcolm Ruhl who taken this big comedic show and made it work without missing a beat.</div>
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Another reason the show works so well is the music of Marc Shaiman, Lyrics by Scott Wittman that evokes the music of the period that still advances the plot and doesn't feel boxed into the wonderful book by Mark O'Donnell and Marc Shaiman that never fails to find a laugh without sacrificing the heart and charm of the show.</div>
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That seems to be the strength that is built into the piece and makes it so endearing that from the opening refrains of the innocence of “Good Morning Baltimore” to the driving anthem “You Can't Stop the Beat.” The best way to think about this is show is to look at Ms. Castillo's Tracy Turnblad who is probably one of the most endearing characters in musical theater. Ms. Castillo a modern day zaftig Nellie Forbush who is a girl that no matter what life throws her way is just going to stand up tall, look you up in the eye, and shake the meanest tail feather that you've ever seen and she will probably thank you for allowing her to do it.</div>
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HAIRSPRAY is running at the Drury Lane Theatre, 100 Drury Lane through June 17, 2012. The performance schedule is as follows: Wednesdays at 1:30 p.m. ($35), Thursdays at 1:30 p.m. ($35) and 8 p.m. ($40), Fridays at 8:30 p.m. ($45), Saturdays at 5 p.m. ($45) and 8:30 p.m. ($46) and Sundays at 2:00 p.m. ($45) and 6 p.m. ($40). Lunch and dinner theater packages range from $49.75 tp $68 depending on the day of the week. Group rates for Student tickets start as low as $20 and Senior Citizen tickets start as low as $30 for matinees and $44.75 for a matinee lucheon package. For reservations, call the Drury Lane Theatre box office at 630.530.0111. call TicketMaster at 800.745.3000. or visit <a href="http://www.drurylaneoakbrook.com/">www.drurylaneoakbrook.com</a>.<br />
</div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com1tag:blogger.com,1999:blog-5952021749417305441.post-9384210574876532922012-04-17T02:34:00.000-05:002012-04-17T02:34:05.812-05:00The Pirates of Penzance at Marriott Lincolnshire<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsdU8BlBnLzuq1zL_ZwvDiwEzeui5DY1Ek0TTDXlATxcdBdzh1NZQWuBz_XSqJz3q-HXS7aBZDB7mf-sJZlSKISqv3Lecu56WAzSRt8B_HltUsJ1n8CutyAKu8euPYOHKtHOqygy4Q6I/s1600/image012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsdU8BlBnLzuq1zL_ZwvDiwEzeui5DY1Ek0TTDXlATxcdBdzh1NZQWuBz_XSqJz3q-HXS7aBZDB7mf-sJZlSKISqv3Lecu56WAzSRt8B_HltUsJ1n8CutyAKu8euPYOHKtHOqygy4Q6I/s320/image012.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="margin-bottom: 0in; text-align: left;">In a winningly wonderful revival of their 2000 production of Gilbert & Sullivan's “The Pirates of Penzance” Marriott Lincolnshire Theater once again proves that not only are they at the top of their game when it comes to top of the line musical comedy's but also in allowing Chicago actors the chance to give memorable performances that will stay with you for years to come.</div><div style="margin-bottom: 0in; text-align: left;"><br />
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</div><div class="separator" style="clear: both; text-align: left;">THE PIRATES OF PENZANCE follows the story of young Frederic who, as a child, is mistakenly apprenticed to a band of tenderhearted, ophaned pirates. Upon completion of his apprenticeship to the pirates on his 21st birthday, Frederic is released from his servitude. Soon after, he meets the fair maiden Mabel, daughter of Major-General Stanley. The two fall instantly in love; but as always, obstacles threaten to cause trouble for everyone. In the Marriott's production that takes a show that was originally done in 1879 and makes it work on so many levels in a testament to all in involved inthis production. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Let's start off with the joys to be had by the creative team with the production that's running though June 13<sup>th</sup> and directed with great comedic aplomb by Multi-Jeff Award winning director Dominic Missimi who you never for one second feel like is going to lose the reins of this production. This is a show with a huge cast, lots of music, lots of scene work, and could easily fall apart with a less then skilled director and Mr. Missimi leaves no doubt that he could handle this in his sleep and proves it though out the entire production. He is assisted by the gorgeous costumes of his wife Nancy Missimi and the set design by Thomas M. Ryan who keep everything bright and festival and a pleasure to look at. The musical direction by Ryan T. Nelson, orchestrations by David Siegel with musical supervisor Patti Garwood makes the difficult Gilbert and Sullivan music seem like an everyday stroll in the park. Mr. Gilbert and Mr. Sullivan's work when supported by six of these masters when teamed up make this production seem so effortless that you would think that anyone could stage “The Pirates of Penzance” and get away with it. If you throw in the bouncy syncopated movements created by Matt Raftery then you have the icing of musical comedy heaven. </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEils8Dg6W4baxZ4mKwPEqHgQPxBqvJwssz_MxWJrb5ZzL00W-1NR_T-usVrKtqt4BgqJSWinw-5e3ITER9sJ6zDhxT0JiwwByorjnTzYAugivK7nwEK_rbHSsYo5qL5_ZdeFRogSkU7PLs/s1600/PIRATES-+Alene+Robertson,+Omar+Lopez-Cepero,+Kevin+Earley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEils8Dg6W4baxZ4mKwPEqHgQPxBqvJwssz_MxWJrb5ZzL00W-1NR_T-usVrKtqt4BgqJSWinw-5e3ITER9sJ6zDhxT0JiwwByorjnTzYAugivK7nwEK_rbHSsYo5qL5_ZdeFRogSkU7PLs/s320/PIRATES-+Alene+Robertson,+Omar+Lopez-Cepero,+Kevin+Earley.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"> The other joys in this terrific production is the sensational cast that is able to get the not to be taken seriously but smartly does not fall into the over the top type of acting that comes so easily with this type of show. Throw in some heavenly singing and you have a cast almost as strong as the production team that is assembled for this production. </div><div class="separator" style="clear: both; text-align: left;"> </div><div style="margin-bottom: 0in; text-align: left;">All of that said though In the starry role of The Pirate King Kevin Early could be a little bit more over the top as this along with a few other roles cries out for some ham and Omar Lopez-Cepero as Frederick could have more of a presence the lovely Patricia Noonan is smart enough to play up the ingenue role without making Mabel an idiot and inflects her role with some stunning vocal trills. As the Sergeant Andrew Lupp expertly handles all the tricky choreography while not losing any of the comedic glee his character has while even dealing with a faulty mic in his solo in the second act. In smaller roles Jeff Max, Susan Moniz, and Kelly Ann-Clark delight with small but quite noticeable touches their roles.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizDLDatrOowMF5pELdk27qrMXRlwgsnhfUYZWpkx393fAFPDs9AxA7lynwtX82-DqibC-3OBf-2sv-a42AnQd2Psp7tYSFFWeiC855G-MbL_0IEvRJii9lDCYcUASjtvY9wErFGu87G9Y/s1600/PIRATES-+Andrew+Lupp+and+Police.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizDLDatrOowMF5pELdk27qrMXRlwgsnhfUYZWpkx393fAFPDs9AxA7lynwtX82-DqibC-3OBf-2sv-a42AnQd2Psp7tYSFFWeiC855G-MbL_0IEvRJii9lDCYcUASjtvY9wErFGu87G9Y/s320/PIRATES-+Andrew+Lupp+and+Police.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">In one of the show's two showiest roles Chicago stage legend Alene Robertson as poor suffering nurse maid Ruth lands everyone one of her lines in her one of a kind dead pan delivery even though one wishes she was a little bit more believable in the role and up to the vocal task. All of this leads up to the performance that is without a doubt going to be picking up several awards this season. Even though he comes in a little bit later in the first act Ross Lehman as the Modern Major General walks off with the show to the point that you might want to rename it “The Model of a Modern Major General” even to the point that I was quite shocked he didn't receive the final bow at the end of the show. This is a performance that I rank up there with some of my greatest Chicagoland stage performances. To say that Mr. Lehman does everything perfect would even still be an understatement as he has the audience and quite clearly the actors eating out of the palm of his hand and can make you howl from just a skip or a turn.</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfu69yiD2Ei2Xy-MQ8-8pcpvk1tqoufeHaTMK2ZYBj4xYVe9345n3h3w4yf-qa359rMR0ZbLZ9JGLeYRFmveYwkmaSkVy5rnvPo94i850NT3jaw3xtqp-UV0DalkO4ta1lEVuUeFFT5E/s1600/PIRATES-+The+Pirates.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfu69yiD2Ei2Xy-MQ8-8pcpvk1tqoufeHaTMK2ZYBj4xYVe9345n3h3w4yf-qa359rMR0ZbLZ9JGLeYRFmveYwkmaSkVy5rnvPo94i850NT3jaw3xtqp-UV0DalkO4ta1lEVuUeFFT5E/s320/PIRATES-+The+Pirates.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"> It's quite impressive for a show that's been around so long could still come across as fresh and not as creaky as one might expect to not only make the audience laugh with so much glee and leave with a smile on theirs faces that credit is not only due to the creators of the show but to the creators of this particular production and to top it off Mr. Lehman along with his extremely witty improvisational riff during his solo makes this a must see for anyone. </div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOz2-5ISiEe_UVqra5MkPTd6PzOLNvhXp_d36RUhg7j1OOJB1DgaSrbLlftEvowwsC9hzmcK2TdPKxuMMRrH9kskVMbsfHr9PirkIsjeA3sEmdPxq9jAAa26kEobgw6w2qYQ51QFL3Gwc/s1600/PIRATES-+Ross+Lehman+and+Kevin+Earley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOz2-5ISiEe_UVqra5MkPTd6PzOLNvhXp_d36RUhg7j1OOJB1DgaSrbLlftEvowwsC9hzmcK2TdPKxuMMRrH9kskVMbsfHr9PirkIsjeA3sEmdPxq9jAAa26kEobgw6w2qYQ51QFL3Gwc/s320/PIRATES-+Ross+Lehman+and+Kevin+Earley.jpg" width="320" /></a></div><br />
THE PIRATES OF PENZANCE is presented at The Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL opened August 13th and is running though June 10th. The performance schedule is Wednesdays at 1:00 p.m. and 8:00 p.m., Thursdays and Fridays at 8:00 p.m., Saturdays at 4:30 p.m. and 8:00 p.m., and Sundays at 1:00 p.m. and 5:00 p.m. Ticket Prices range from $41 to $49, plus tax and handling fees. Seniors and students recieve $5.00 off a full price theatre ticket on Wednesdays at 1:00 p.m.., Saturdays at 4:30 p.m. and Sunday at 1:00 p.m. and 5:00 p.m. On Wednesday and Thursday evenings a limited number of Dinner and Theatre tickets are available for $55.00 per person plus handling fees. Dinner is at Kings Wharf Restaurant or the Fairfield Inn (based on dining availability). Free parking is available at all performances. To reserve tickets with a major credit card. call the Marriott Theatre Box Office at 847.634.0200 or <a href="http://www.ticketmaster.com./">www.Ticketmaster.com.</a> Visit <a href="http://www.marriotttheatre.com/">www.MarriottTheatre.com</a> for more information. </div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-35841697606622901342012-04-13T04:05:00.001-05:002012-04-13T09:47:04.350-05:00MOTHERHOOD THE MUSICAL at the Royal George<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8AAykmtVh5jvi_VxDTB4JcAq1okriKDENyFxxgMM6ouRasY-soC0yAH3k-x_-NfyCJ1axyZoT4FbZ78G1tx3CXny6YDV0dY-Q5t8mmpJMGT9NflP6htvV1id0RDkXIZ9lG9Gd91oUXfU/s1600/image012.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8AAykmtVh5jvi_VxDTB4JcAq1okriKDENyFxxgMM6ouRasY-soC0yAH3k-x_-NfyCJ1axyZoT4FbZ78G1tx3CXny6YDV0dY-Q5t8mmpJMGT9NflP6htvV1id0RDkXIZ9lG9Gd91oUXfU/s320/image012.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="margin-bottom: 0in;">I usually have a saying that goes someday's there is God and then there's Oprah and then on others there is Oprah and then there is God. In “MOTHERHOOD the Musical” the saying should go more like there's Mom and then there's God or possibly Oprah, whatever is bigger at that moment but nothing is bigger then Mom. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">MOTHERHOOD the musical which opened at the Royal George Theater last night and runs though June 17<sup>th</sup> is a bouncy, breezy, crowd pleasing type of show that strikes an emotional chord with many in the audience (mostly women) and should enjoy a healthy run while in town. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The show written by author and songwriter Sue Fabisch, tells the story of Amy played with a tad bit of perkiness from Madeline Duff-Feins who is thrown a surprise baby show by her neighbors and friends Barb, an over-worked stressed out mother of five Brooke, a lawyer who works too much and barely sees her kids and Tasha, a single mom struggling to balance work, family and a divorce. Each of these three mothers spend the 20-song cycle informing Amy of both the highs and lows of motherhood. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The show in structure, style, and almost musically borrows a lot from other shows in similar theme as I saw a lot of Dan Goggin's “Nunsense” in this particular show down to the gospel number at the end. However the old saying should stil apply “If it ain't broke, don't fix it.” </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9_OkpXzFSPkR1emRk7YohEuTzPT6hfq5qqSBkms7SEqVALk92iln0Rr8mavAJif63sJrhR4gHw5VtsLQjE7oGzHO6nOjPmKWjh9YW9zjD7DbC5TsD8eXa6eYlBDqAPy_kdASEoRFeOSk/s1600/Mhood-Chi-happy+belly.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9_OkpXzFSPkR1emRk7YohEuTzPT6hfq5qqSBkms7SEqVALk92iln0Rr8mavAJif63sJrhR4gHw5VtsLQjE7oGzHO6nOjPmKWjh9YW9zjD7DbC5TsD8eXa6eYlBDqAPy_kdASEoRFeOSk/s320/Mhood-Chi-happy+belly.JPG" width="320" /></a></div><br />
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<div style="margin-bottom: 0in;">The cast works in overtime to sell each of their vaudeville style numbers with everything they've got and then some. As Barb or Sister Robert Anne, Jennifer Chada has some of the crudest material of the three but delivers it like its Andrew Lloyd Webber and with a voice to match that style of music. Melody Betts as Sister Hubert has a personality almost as big as her voice and delivers her numbers like this was the last performance she was ever going to give. I hope the Marriott is thinking about her as Effie for there upcoming production of “Dreamgirls” because she can sing the stuffing out of anything. As Brooke, the mother with the least to do or otherwise known as Sister Mary Leo, Kimberly Vanbiesbrouck has some great dance steps and stops the show with her performance of the song “Costco Queen.” </div><br />
<div style="margin-bottom: 0in;">The moves along quickly though at 20 songs after a while all the songs seem to sound the same and the show could use with some editing however such crowd favorites such as Mommy, Mommy, Mommy, Minivan, I'm Danny's Mom (sung beautifully by Jennifer Chada, however no where in the rest including when she names each of her children does she mention Danny again), Not Gonna Take it Anymore, and The Kids Are Finally Asleep had the audience eating out of the palm of cast and creators hands.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">However all that said as I looked around and judging by expressions on a lot of the women's faces I could tell that this was a show that most in the audience got due to the fact that they could see a lot of themselves up on stage and for an audience life experience can be as strong a bond as motherhood. </div><br />
<div style="margin-bottom: 0in;">MOTHERHOOD THE MUSICAL is playing at the Royal George Theater though June 17<sup>rd</sup>. Performances are Wednesdays and Thursdays t 7:30 pm., Fridays and Saturdays at 8 pm, Saturdays and Sundays at 2 p.m. And Sundays 5:30 p.m. Tickets can be purchased at <a href="http://www.ticketmaster.com/">www.ticketmaster.com</a> by calling 800.982.2787 or at the Royal George Theatre box office, 1641 North Halsted Street. For additional ticket information, visit <a href="http://www.theroyalgeorgetheatre.com/">www.theroyalgeorgetheatre.com</a>. </div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUEYiylQZQtLIHjyd7I-tffVbVFjVHN048bRc3nfN5oRtDe4OKtqrfKP2WL1SwXQPxwh3yJvj8O1ONM96HO4gts1RHL3bpB28PVjm_CWDTmIvc937RYN3RutwtP_9OOjpkemrXCgX0t_Q/s1600/Mhood-Chi-protest.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUEYiylQZQtLIHjyd7I-tffVbVFjVHN048bRc3nfN5oRtDe4OKtqrfKP2WL1SwXQPxwh3yJvj8O1ONM96HO4gts1RHL3bpB28PVjm_CWDTmIvc937RYN3RutwtP_9OOjpkemrXCgX0t_Q/s320/Mhood-Chi-protest.JPG" width="320" /></a></div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-86262121609673413432012-04-13T03:16:00.000-05:002012-04-13T03:16:43.375-05:00JERSEY BOYS at The Bank of America Theatre<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCEQFBUCjm1mwB5anWjvgLoFeKS6vv1Nw7fm2taWBJ-Ywa-Rouol3Xlo8LioHSUNT0XO2yC-I5vihiA7W6YVPu3DX0W8IwtiekcLN20cxKar6qYJYFRNqe0qkPC35jbqQv6amPnwOyP1k/s1600/Jersey+Boys+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCEQFBUCjm1mwB5anWjvgLoFeKS6vv1Nw7fm2taWBJ-Ywa-Rouol3Xlo8LioHSUNT0XO2yC-I5vihiA7W6YVPu3DX0W8IwtiekcLN20cxKar6qYJYFRNqe0qkPC35jbqQv6amPnwOyP1k/s320/Jersey+Boys+3.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"> <b>Jersey Boys</b></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">At the end of the show when the full company joins together and sings “Who Loves You?” its quite clear by the audiences reaction that question does not need to be asked. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">After making its return to Chicago after a triumphant run in Chicago that broke box office records at the Bank of America Theatre and played from 2007 to 2010 “<b>JERSEY BOYS</b>” which opened last night at the Bank of America Theatre will play for nine weeks though June 3<sup>rd.</sup></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><b>JERSEY BOYS</b> is the story of Frankie Valli and The Four Seasons like its predecessor “Dreamgirls” shows the backstage life of a group from the humble beginnings to their super star reunion complete with all the backstage fighting’s, betrayals and personal demons. Where as “Dreamgirls” told a fictional tale of a girl group <b>JERSEY BOYS</b> is the story of Frankie Valli, Bob Gaudio, Tommy DeVito, and Nick Massi set to the music of that era. The show contains such classics as Earth Angel, Cry for Me, Sherry, Big Girls Don't Cry, Walk Like a Man, Oh, What a Night, Stay, Can't Take My Eyes Off of You, Woking My Way Back to You, and Who Loves You? songs that that are embedded in the ears and hearts of almost everyone out there.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The show's book by Rick Elice moves as fast an furious as those classic songs do and with direction by two-time Tony Award winner Des McAnuff they are able to fit an entire life of these men plus everyone they seem to have ever met into their lives in under two hours which is surprising that the finale moments involving a personal tragedy seems so rushed though other then that the show is a knockout and definitely a crowd-pleaser from top to bottom.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The excellent cast also work very hard to make these fully realized sympathetic characters when they could have easily been caricatures that sing just some classic songs, with each of the Boys has his moment to shine during the proceedings. Joseph Leo Bwarie displays an impressive range that evokes Franki Valli's range and tone and while having the least of the charismatic roles still lands with his portrayal. As the groups founder Tonmy DeVito, John Gardiner takes the standard tough guy role and is able to build an impressive arc while Michael Lomenda's Nick Massi makes you feel for the Ringo of the group even though there is a lot of mystery towards him. As the man who provided them with so many great songs Bob Gaudio Preston Truman Boyd projects a sincerity and honesty with his acting that matches his youthful appearance.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The resent of the large ensemble works overtime to make their characters memorable and not just scenery that rushes past the stage with standouts being Jonathan Hadley, Karla Tremel, and Joseph Leo Bwarie.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">At one point in the show Nick Massey speaks that their fans weren't like the Beatles fans were that there music appealed to the everyman and with this show and this production it's quite clear why that is as you walk into the show humming the music and walk out of it singing the lyrics. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><b>JERSEY BOYS</b> is playing at the Bank of America Theatre though June 3<sup>rd</sup> tickets are on-sale now and start as low as $7. Tickets are available at all Broadway In Chicago Box Offices (24 W. Randolph St., 18 W. Monroe St. and 175 E. Chestnit), 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 Carsons Pirie Scott, Coconuts and fye Stores), and online at <a href="http://www.broadwayinchicago.com/">www.BroadwayInChicago.com</a>. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"> For more information on <b>JERSEY BOYS</b>, go to <a href="http://www.broadwayinchicago.com/">www.BroadwayInChicago.com</a> or <a href="http://www.jerseyboystour.com/">www.JerseyBoysTour.com</a>. </div><div class="separator" style="clear: both; text-align: center;"> </div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com1tag:blogger.com,1999:blog-5952021749417305441.post-25661029710395307182012-03-16T05:49:00.000-05:002012-03-16T05:49:38.270-05:00PREPARE TO ROCK THE MAGNIFICENT MILE THIS SUMMER<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG8vqluzhwxIfeOHlTRLanb2uQVFm8ju77Nke5_rBpaQZ-Ekb4UPxuNVy1OTBeseNQELY_U4Ny330tbHCaU8rY0q0grHmrPqDtSq_6wIqwcPGf0KRCMwWJLlriRM1Q3ZLf5_cee-mZ8r0/s1600/image003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG8vqluzhwxIfeOHlTRLanb2uQVFm8ju77Nke5_rBpaQZ-Ekb4UPxuNVy1OTBeseNQELY_U4Ny330tbHCaU8rY0q0grHmrPqDtSq_6wIqwcPGf0KRCMwWJLlriRM1Q3ZLf5_cee-mZ8r0/s400/image003.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"> </span></div><div align="JUSTIFY"><span style="color: white;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>CHICAGO</b> (March 6, 2012) Broadway In Chicago is thrilled to announce that the five-time Tony Award<b>® </b>nominated musical <b>ROCK OF AGES </b>is returning to Chicago this summer by popular demand, <b>June 5- August 5, 2012,</b> for a highly entertaining, intimate, rock concert experience at the Broadway Playhouse at Water Tower Place (175 East Chestnut). <u><b>Individual tickets for ROCK OF AGES go on-sale Wednesday, March 14, 2012 at 10 a.m. </b></u> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: white; font-family: Arial, Helvetica, sans-serif;"> </span></div><div align="JUSTIFY"><span style="color: white;"><span style="font-family: Arial, Helvetica, sans-serif;">"This is certain to be a high-energy magical experience for all those who attend. Returning to its roots, this will be the first time since it was conceived that <b>ROCK OF AGES</b> will play an intimate venue where the audience will feel like they are part of the hair band party," says Eileen LaCario, Vice President of Broadway In Chicago. </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: white; font-family: Arial, Helvetica, sans-serif;"> </span></div><div align="JUSTIFY"><span style="color: white;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>ROCK OF AGES</b> is a worldwide phenomenon with smash hit productions in Australia, London, South Korea and still rockin' on Broadway, featuring 28 classic rock tunes including“Don't Stop Believin'”, “We Built This City”,“The Final Countdown”, “Wanted Dead or Alive”,“Here I Go Again”, “Harden My Heart”, “Can't Fight this Feeling”, “Renegade” and “I Want To Know What Love Is.” And now it will sit down at the Broadway Playhouse in Chicago for nine weeks this summer.</span></span></div><div align="JUSTIFY"><br />
</div><div align="JUSTIFY"><span style="color: white; font-family: Arial, Helvetica, sans-serif;">In 1987 on the Sunset Strip, a small-town girl met a big-city dreamer – and in L.A.’s most legendary rock club, they fell in love to the greatest songs of the ‘80’s. It’s <b>ROCK OF AGES</b>, a hilarious, feel-good love story told through the hit songs of iconic rockers <b>Journey, Styx, REO Speedwagon, Foreigner, Pat Benatar, Whitesnake</b>, and many more. This five-time Tony nominated musical, with a star studded motion picture in the works, is rockin' its way across the USA. Don't miss this awesomely good time about dreaming big, playing loud and partying on!</span></div><div align="JUSTIFY"><span style="color: white; font-family: Arial, Helvetica, sans-serif;"> </span></div><span style="color: white;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Individual tickets for ROCK OF AGES</b> go on-sale Wednesday, March 14, 2012 at 10 a.m. and tickets range from $70 - $80. A select number of premium seats are also available for all performances. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710. </span></span><br />
<div align="JUSTIFY"><span style="color: white; font-family: Arial, Helvetica, sans-serif;"> </span></div><div align="JUSTIFY"><span style="color: white;"><span style="font-family: Arial, Helvetica, sans-serif;">For more information on <b>ROCK OF AGES</b></span><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> visit </span><a href="http://www.broadwayinchicago.com/" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">www.BroadwayInChicago.com</span></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> or </span><a href="http://www.rockofagesontour.com/" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">www.rockofagesontour.com</span></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">.</span><span style="font-family: Calibri;"> </span></span> </span></div><div align="JUSTIFY"> </div><div class="separator" style="clear: both; text-align: center;"> </div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-51095515055090830962012-03-16T03:18:00.000-05:002012-03-16T03:18:40.009-05:00RIVERDANCE at the Oriental Theatre<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibR9PNOyfpgp2Fyal8EJLswpbFgf7qpunDwMmrRfRWFeXSio9rlCYG9s33F4jQ3EgUKFh0-ycvzZ_T8jcK6u44qVYT8RqAtqpi1FzFnmV0PRVRHaW76i1RaOXczg7kqg41BlPDhxC4sPo/s1600/RiverD195.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibR9PNOyfpgp2Fyal8EJLswpbFgf7qpunDwMmrRfRWFeXSio9rlCYG9s33F4jQ3EgUKFh0-ycvzZ_T8jcK6u44qVYT8RqAtqpi1FzFnmV0PRVRHaW76i1RaOXczg7kqg41BlPDhxC4sPo/s320/RiverD195.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="margin-bottom: 0in; text-align: left;">Back in 1994 when RIVERDANCE was first performed during the 1994 Eurovision Song Contest who would have ever thought that it would grow into such a world wide phenomem that along with a tour that doesn't ever seem to die includes recordings, and PBS specials. </div><div style="margin-bottom: 0in; text-align: left;"><br />
</div><div style="margin-bottom: 0in; text-align: left;">The recent U.S. tour that opened March 13<sup>th</sup> at the Oriental Theatre and is playing for only eight performances here is being billed as the a goodbye to Chicago. Which makes one think will they never be allowed to perform here again? If anyone is caught Irish jig dancing or singing an Irish ditty if they would be arrested and thrown out of the city. Judging by the huge turnout and thunderous applause that simply will not do for the proud Irish Chicagoan's who flocked to see this production.</div><div style="margin-bottom: 0in; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"></div><div style="margin-bottom: 0in; text-align: left;">And flocked is the right word for a show that has played over 10, 000 performances, been seen love by over 22 million people in over 350 venues world wide, travelled 600, miles, played on television to over 2 billion people, sold over 3 million copies if a Grammy winning CD and sold over 10 million videos. Those are stats that even Rent and Wicked can't match. </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_pzUGFsjhH1T_1yopVmJqc1c87I_hDxywtPic1q11kWhXAEPCLshGScewnh5imgc0-79Ds6aH3DP_5E9UYBaQCcVosLimk7Ujsb7LWUnyJW0IQsQXVB9IdBqbqKGzjR3P4bE-c91nV3c/s1600/jan004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_pzUGFsjhH1T_1yopVmJqc1c87I_hDxywtPic1q11kWhXAEPCLshGScewnh5imgc0-79Ds6aH3DP_5E9UYBaQCcVosLimk7Ujsb7LWUnyJW0IQsQXVB9IdBqbqKGzjR3P4bE-c91nV3c/s320/jan004.jpg" width="212" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiox8XWx-o8EIRGj5zpwvadmFLFL5ptdENRleSYZCs0OgBb8Z85dCges7jWYBei_z3FC1vPNzaHbKzggVZ_nudM0hZ7zNU-_BhGxxyh8-08UHS2w0zyGG19_ocFtykYrKPr7sK6t7QRRH0/s1600/RiverD180.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiox8XWx-o8EIRGj5zpwvadmFLFL5ptdENRleSYZCs0OgBb8Z85dCges7jWYBei_z3FC1vPNzaHbKzggVZ_nudM0hZ7zNU-_BhGxxyh8-08UHS2w0zyGG19_ocFtykYrKPr7sK6t7QRRH0/s320/RiverD180.jpg" width="213" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
The show makes a strong case for the amount of Irish influences in flamenco dancing as performed in</div><div class="separator" style="clear: both; text-align: left;">two sizzling solo's by Marita Martinez-Rey and with a show stopping tap routine from DeWitt Flemming Jr. and Michael E. Wood who besides stealing their scene from principle dancers James Greenan, Padraic Moyles, and Jason O'Neill had the audience eating out of the palm of their hands. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div style="margin-bottom: 0in; text-align: left;">So much has been said about the dancing, the performers that attention must also be paid to the impressive 5 piece on stage band lead by Declan Masterson and a showstopping fiddle turn by Rose Duffy who is impressive enough in her solo pieces that any dancers would look like props to her.</div><div style="margin-bottom: 0in; text-align: left;"><br />
</div><div style="margin-bottom: 0in; text-align: left;">The unfortunate aspect about this tour is that it is obviously a copy of a copy of a few other tours which most notable in the costume and set budget making the costumes look like they were borrowed from a high school production of “Brigadoon” and the projections at one point reminded me of a community theater production of The Wizard of Oz however those are small things for a show that seems to be beyond critic proof especially in a town that wears the pride of the Irish heavily on its sleave. This is a show that you leave your cares and worries along with your thoughts behind and just go and enjoy some amazing dancing.</div><div style="margin-bottom: 0in; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"></div><div style="margin-bottom: 0in; text-align: left;">Riverdance is playing at the Oriental Theatre for eight performances till Sunday March 18,. Individual tickets are currently on-sale now and ranger in price from $30-$85. Tickets are available at all Broadway in Chicago Box Offices (24 W. Randolph St., 18 W. Monroe St. and 75 E. Chestnut), the Broadway in Chicago Ticket Kiosk at Water Tower Place (845 N. Michigan Ave.), the Broadway In Chicago Ticket Line at (800) 775-2000, all Ticketmaster retail locations (including Hot Tix and select Carson Pirie Scott, Coconuts and fye stores), and online at <a href="http://www.broadwayinchicago.com/">www.BroadwayInChicago.com</a>. Groups of 15 or more may receive a discount on most shows by calling (312) 977-1710. Gift certificates, which can be redeemed for any production or for season ticket packages, can be obtained at Broadway in Chicago box offices, <a href="http://www.broadwayinchicago.com/">www.BroadwayinChicago.com</a> or by calling Ticketmaster at (800) 775-2000.</div><div style="margin-bottom: 0in; text-align: left;"><br />
</div><div style="margin-bottom: 0in; text-align: left;">For more information on RIVERDANCE visit BroadwayinChciago.com</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF6ds2B9YMX5-0AT7altGA3-G6KPwsh3NYC-LNHIoHShyqjPAPuxdPboW_vwtKfwG2ToAiUk9P_ETrG3YK78lKwz0lkJv9PXVAp24ZebRlGb55tk7qDcRK-GBcyFYYW2POpZ_-dgP9RKE/s1600/RiverD115.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF6ds2B9YMX5-0AT7altGA3-G6KPwsh3NYC-LNHIoHShyqjPAPuxdPboW_vwtKfwG2ToAiUk9P_ETrG3YK78lKwz0lkJv9PXVAp24ZebRlGb55tk7qDcRK-GBcyFYYW2POpZ_-dgP9RKE/s320/RiverD115.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-1929915522093116112012-01-29T13:30:00.001-06:002012-01-29T21:42:02.223-06:00Legally Blonde at the Marriott Lincolnshire Theatre<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUX6vw5EXg8JpvlR0Wd-Gi9OS7F06jM6m7nIx79ok1PVkz5z2Um4VHUm9avyJMWSNcEnm8rQ_bIY_Ye0GHOmin14Mw4_wnuTUkZWZPkuDW7jk9qP4_n11ce4zF17a1eMFOcYQC1K6WSo/s1600/image010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUX6vw5EXg8JpvlR0Wd-Gi9OS7F06jM6m7nIx79ok1PVkz5z2Um4VHUm9avyJMWSNcEnm8rQ_bIY_Ye0GHOmin14Mw4_wnuTUkZWZPkuDW7jk9qP4_n11ce4zF17a1eMFOcYQC1K6WSo/s320/image010.jpg" width="320" /></a></div> <br />
<div style="margin-bottom: 0in;">“Omigod You Guys, “Legally Blonde the Musical” kicked off The Marriottt Theatre 2012 season in a brightly pink and amped up production that leaves you both exhilarated and dizzy if not a little exhausted from all the excitement that's going on the Marriott stage. </div><br />
<div style="margin-bottom: 0in;">The musical based on the novel by Amanda Brown and then turned into the hit 2001 movie starring Reese Witherspoon packs a lot of punch in the short amount of time and if sometimes if you feel that the message that the wiliness to do anything for love ultimately gives into the power of personal self acceptance passes you by rather quickly, it does leave you with a fun-filled score that's filled with as much wit as it is product placement.</div><br />
<div style="margin-bottom: 0in;">Legally Blonde as many know who have seen the movie, however for those who haven't is the story of the ever popular and ever determined Elle Woods, who at the start of the show's main goal seem to be to become the wife of the equally popular Warner Huntington III. Her plans get sidetracked when Warner dumps her to attend Harvard Law School and also to marry someone who appears to be more serious. However to prove appearances can be deceiving, Elle like any modern women decides to hit the books and apply to Harvard where not only does she get in she's able to rise to the top of her class, get everyone to like her, and belt out a pop score with ease. All of this while maintaining her signature wardrobe of pink. </div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGAzNzZXsLntVRujQ8-9tbTxZeYms6Z9EKJxyPcNhEunA9FM_WdYJjDQGgR332qvPbcgAcS2YBVFeTAEV0ZSWb8PMQopAxffUBq4fBd7nBDZD01EfDrDM5W9iZCkhgigIE7Ep-XMH0I3c/s1600/LEGALLY+BLONDE+David+Larsen+and+Chelsea+Packard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGAzNzZXsLntVRujQ8-9tbTxZeYms6Z9EKJxyPcNhEunA9FM_WdYJjDQGgR332qvPbcgAcS2YBVFeTAEV0ZSWb8PMQopAxffUBq4fBd7nBDZD01EfDrDM5W9iZCkhgigIE7Ep-XMH0I3c/s320/LEGALLY+BLONDE+David+Larsen+and+Chelsea+Packard.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div style="margin-bottom: 0in;">In the starring role of Elle, Chelsea Packard sometimes lacks the likeability that is required for the role but provides a strong voice and lands the comedic aspects of the role with aplomb. As Emmett, Elle's champion David Larsen isn't able to make much of an impact except during his song “Chip on My Shoulder.” Much like Jennifer Coolidge in the film and Orfeh on Broadway Christine Sherrill as Paulette steals the show with both her belting and her comedic skills making her role the crowd pleaser it deserves to be. As Professor Callahan Gene Weygandt is able to make a terrible song like “Blood in the Water” land and as Vivienne Stephanie Binetti is able to convincingly turn her character from being unlikeable to slightly more likeable in the matter of a few moments. The rest of the cast are all excellent and energy levels are as up as if the cast were being pumped with several red bulls. </div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div style="margin-bottom: 0in;">The show is paced so fast that it only allows a few seconds to breath but all of that is handled expertly by director/choreographer Marc Robin's who does wonders with the material. Costume designer Nancy Missimi is able to do wonders with the differences between East Coast and Wet Coast attire and Diane Ferry Williams lighting design never misses a beat.</div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div style="margin-bottom: 0in;">The music written by Laurence O'Keefe and Nell Benjamin is catchy and tuneful and feels such power pop anthems as “What You Want,” “Positive,” “Chip On My Shoulder,” and “So Much Better” and the book by Heather Hatch is quick with the one liners and keeps the action flowing while still remaining true to the movie as to not confuse people not familiar with the material. </div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div style="margin-bottom: 0in;">Legally Blonde the musical gives you the impression that any dream in life can be accomplished with a little hard work, a fabulous wardrobe and to always remain positive no matter what hurdles live might throw you. Isn't that what we all wish life should really be about all the time?</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZkpqm8c6JYwCWMbM6O9Y-pG2Qh0nNgjGinJdpLrl6XH5l2opP50KM3jHUqu-kjPpfhiYC8iXca9lSsf_LxIWomtv0JjGABQab8t7Vb-k0QQvYSIRwFaCT3ds9EKgRfh_-2eAEYFDeBCI/s1600/LEGALLY+BLONDE+Cast+of+Legally+Blonde.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZkpqm8c6JYwCWMbM6O9Y-pG2Qh0nNgjGinJdpLrl6XH5l2opP50KM3jHUqu-kjPpfhiYC8iXca9lSsf_LxIWomtv0JjGABQab8t7Vb-k0QQvYSIRwFaCT3ds9EKgRfh_-2eAEYFDeBCI/s320/LEGALLY+BLONDE+Cast+of+Legally+Blonde.jpg" width="320" /></a></div><br />
The performance schedule is Wednesdays at 1:00 pm and 8:00pm, Thursdays and Fridays at 8:00 pm, Saturday at 4:30 pm and 8:00 pm, and Sundays at 1:00 pm and 5:00 pm. Ticket prices range from $40 to $48, plus tax and handling fees. Seniors and students receive $5.00 off a full price theater ticket on Wednesday at 1:00 pm, Saturday at 4:30 pm and Sunday at 1:00 pm and 5:00 pm. On Wednesday and Thursday evenings a limited number of Dinner and Theatre tickets are available for $55.00 per person plus handling fees. Dinner is at Kings Wharf Restaurant or the Fairfield Inn (based on dining availability). Free parking is available at all performances. To reserve tickets with a major credit card, call the Marriott Theater Box Office at 847.634.0200 or <a href="http://www.ticketmaster.com/">www.TicketMaster.com</a>. Visit <a href="http://www.marriotttheater.com/">www.MarriottTheater.com</a> for more information. <br />
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</div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com2tag:blogger.com,1999:blog-5952021749417305441.post-80514551636649552582012-01-14T07:43:00.000-06:002012-01-14T07:43:48.788-06:00<div dir="ltr" style="text-align: left;" trbidi="on"><div align="center" class="ecxMsoNormal" style="text-align: center;"><b><span style="color: black; font-family: "Arial","sans-serif"; font-size: 18pt;"><span style="color: white;">MadKap Productions Presents</span></span></b></div><div align="center" class="ecxMsoNormal" style="text-align: center;"><b><span style="color: black; font-family: "Arial","sans-serif"; font-size: 18pt;"><span style="color: white;">the Midwest Premiere of</span></span></b></div><div align="center" class="ecxMsoNormal" style="text-align: center;"><br />
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</div><div align="CENTER"><span style="color: white; font-family: Arial, sans-serif;"><strong>at the Greenhouse Theater Center</strong></span></div><div align="center" class="ecxMsoNormal" style="text-align: center;"><strong><span style="color: white;"> </span></strong></div><div align="CENTER"><span style="color: white; font-family: Arial, sans-serif;"><strong>from January 19 Through March 11, 2012</strong></span></div><div align="CENTER"><br />
</div><div align="CENTER"><span style="color: white; font-family: Arial, sans-serif;"><strong>Chicago – Wendy Kaplan, President of MadKap Productions, announced today that the riveting new production CLUTTER: The True Story of the Collyer Brothers Who Never Threw Anything Out will make its Midwest Premiere at the Greenhouse Theater Center,2257 N Lincoln Ave., previewing January 19;opening Friday, January 20; and closingMarch 11, 2012.CLUTTER is written by seven-time Emmy Award winning playwright Mark Saltzman (<i>The Muppets</i> and<i>Sesame Street</i>, Writer’s Guild Award nomination, and five L.A. Ovation Award nominations including Best Musical).Wayne Mell, Managing Director at Citadel, will direct the production. CLUTTER originally made its World Premiere at the Colony Theater in Burbank in 2004 to much acclaim.</strong></span></div><br />
<span style="color: white; font-family: Arial, sans-serif;"><strong>The World Premiere of CLUTTER received rave reviews. <i>The Los Angeles Times</i> selected the play for the “Critic’s Choice” Award stating, “This examination of the Collyer brothers—the world’s most famous packrats—is shamelessly entertaining… richly comic… brilliant.”<i>The Hollywood Reporter</i> raved that “CLUTTER is charming [and] delightful… wise, generous and witty.”<i>KABC</i> enthused that CLUTTER is “a riveting play… As a study in bizarre behavior and obsession, the play is engaging and engrossing… hilarious… an intoxicatingly theatrical milieu… scores a clean dramatic sweep.”</strong></span><br />
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<span style="color: white; font-family: Arial, sans-serif;"><strong>CLUTTER is based on the compelling true story of the wealthy, reclusive Collyer brothers whobecame hoarders in their Fifth Avenue mansion in 1920s Harlem. After years of compulsive collecting, the brothers have become notorious shut-ins in their aristocratic New York neighborhood. Langley Collyer is missing and Homer Collyer is found dead amongst floor-to-ceiling piles of newspapers, books, and junk. The police investigating the case, two brothers with a strained relationship mirroring that of the Collyers, are simultaneously making discoveries about themselves. Narrated by the brothers and the police investigating the bizarre case, this darkly fascinating tale is a poignant and profound exploration of human behavior.</strong></span><br />
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<span style="color: white; font-family: Arial, sans-serif;"><strong>There will be a talkback session immediately following the performances every other Thursday evening beginning on January 19. Dr. Scott Kaplan, an Illinois licensed clinical psychologist, will facilitate talkbacks to address questions about hoarding and other themes addressed in the play.</strong></span><br />
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<span style="color: white; font-family: Arial, sans-serif;"><strong>CLUTTER stars Andrew J. Pond as “Langley Collyer” (Metropolis, Citadel, Piccolo, Redtwist, Blue Heron, and Circle Theatre); Northwestern and University of Chicago graduate Edward Kuffert as “Homer Collyer” (Center Stage, City Lit, Inconceivable, Halcyon, Hubris, GroundUp, Big Noise, Citadel, and Jeff nominated as “Danforth” in<i>The Crucible</i> at Infamous Commonwealth); Joe Mack as “Sgt. Reilly Dolan”; and Michael Jay Bullaro as “Patrolman Keven Dolan” (Goodman, Citadel, and Harper Theatre Ensemble). The production also features Jeff Award winner Stephen M. Genovese (former Artistic Director of Bohemian Theatre Company and Tim Walsh.</strong></span><br />
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<span style="color: white; font-family: Arial, sans-serif;"><strong>The artistic team for CLUTTER is led by director Wayne Mell who has been Managing Director at Citadel since 2009, most recently directing<i>Something’s Afoot</i> (which starred CLUTTER leads Andrew J. Pond and Edward Kuffert). Mell began his directing career in 1976, receiving the Talented Student Scholarship from Northern Illinois University, going on to continue his study of directing at Victory Gardens, as well as improvisation at The Second City. He continued to direct at Citadel, Attic Playhouse, and Bailiwick Repertory’s Director’s Festival.</strong></span><br />
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<span style="color: white; font-family: Arial, sans-serif;"><strong>Sound Design is by Bob Boxer, Lighting Design is by Matthew R. Godlewski, Properties Design is by Mary Odowd and Set Design is by Andrei Onegin.</strong></span><br />
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<span style="font-family: Arial, sans-serif;"><strong><span style="color: white;">Playwright Mark Saltzman, who began his career writing for<i>The Muppets</i> with Jim Henson, is the winner of seven Emmy Awards for his work on<i>Sesame Street</i>. He has also been nominated for the Writer’s Guild Award and five L.A. Ovation Awards, including Best Musical. Notable works include<i>A, My Name is Alice</i>; <i>The Tin Pan Alley Rag</i>; <i>Romeo and Bernadette</i>; and<i>Mr. Shaw Goes to Hollywood</i>. His work has been shown at Laguna Playhouse, The Ballroom, Soho Rep, 13<span style="font-size: small;"><sup>th</sup> Street Theater, Village Gate, Pasedena Playhouse, Goodspeed, The Cleveland Playhouse, Florida’s Maltz Jupiter Theatre, New York’s Roundabout Theatre Company, Miami’s Coconut Grove Playhouse, and New Jersey’s Paper Mill Playhouse.Film credits include Disney, Showtime, SONY, and Universal, including<i>Mrs. Santa Claus</i> (starring Angela Lansbury), <i>The Adventures of Milo and Otis</i>,<i>Three Ninjas Kick Back</i>, and <i>The Red Sneakers</i>. Years after being scolded by his mother, who referred to him as a Collyer brother for having a messy room, Saltzman’s research on the famous hoarders inspired him to write CLUTTER.</span></span></strong></span><br />
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</div><div style="text-align: left;"><span style="color: white; font-family: Arial, sans-serif;"><strong>Producer Wendy Kaplan has been producing theatre since the age of eighteen. She was previously Managing Director of Stage Two Theatre Company and has produced for many regional theatre companies and worked on various Broadway productions, including <i>Lost in the Stars</i>, <i>The Changing Room</i>, <i>Spofford</i>, and Leonard Bernstein’s <i>Mass</i>. She has also produced many shows at Citadel Theatre Company in Lake Forest, including<i>Something’s Afoot</i>, directed by CLUTTER director Wayne Mell.</strong></span></div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><strong><span style="color: white;"><span style="font-family: Arial, sans-serif;">Performances for CLUTTER will be Thursday through Saturday evenings at 7:30 p.m. and Sundays at 2:30 p.m. Ticket prices range from $ 15.00 for students, $30.00 for seniors $30-35 for groups and $40 for general admission. For tickets, call the Greenhouse Theater Box Office at </span><span style="font-family: Arial, sans-serif;">773.404.7336</span><span style="font-family: Arial, sans-serif;">, or visit</span><span style="font-family: Arial, sans-serif;">www.greenhousetheater.org</span><span style="font-family: Arial, sans-serif;">. The Box Office is open Wednesday through Saturday 12-8 p.m. and Sunday 12-4 p.m. For group tickets call 312.423.6612 or visit </span><span style="font-family: Arial, sans-serif;">www.grouptheatertix.com</span><span style="font-family: Arial, sans-serif;">.</span></span></strong></div><div align="center" class="ecxMsoNormal" style="text-align: center;"><strong><span style="color: white;"> </span></strong></div><div style="margin-bottom: 0in;"><br />
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</div></span></b></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-24836245026415371912012-01-14T07:25:00.000-06:002012-01-14T07:25:19.470-06:00"Mr. Rickey Calls a Meeting" at Lookingglass<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzkCYaRS4u8I_ewLWrYJgrfReBBE0JSR__J8POPCVvlJujUpm2G2oed6msM3K0IE1W7J0HWBWq_SIyk9oJfOJHmnBCWu32lYil9UTLZO4XEiJ8XZ3S74uRT2qu3sB_wmj5_ACoGkQLPg/s1600/Full+cast+-+H.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzkCYaRS4u8I_ewLWrYJgrfReBBE0JSR__J8POPCVvlJujUpm2G2oed6msM3K0IE1W7J0HWBWq_SIyk9oJfOJHmnBCWu32lYil9UTLZO4XEiJ8XZ3S74uRT2qu3sB_wmj5_ACoGkQLPg/s320/Full+cast+-+H.jpg" width="320" /></a></div><br />
Opening at the Lookingglass Theatre Company tonight and playing though February 19th 2012 located inside Chicago's historic Water Tower Water Works is the new play "Mr. Rickey Calls a Meeting: written by Ed Schmidt and directed by ensemble member J. Nicole Brooks. <br />
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Baseball’s Opening Day is one week away, and Branch Rickey, General Manager of the Brooklyn Dodgers, will call up Jackie Robinson to break the color-barrier and play as the Major League’s first black ballplayer. If he agrees, Robinson will face loud and heated opposition from virtually every owner, manager, and player in baseball – and it won’t be a cakewalk with the fans, either. Who will be his allies be if he makes the most daring and important play of his life? <br />
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Mr. Rickey Calls a Meeting features Artistic Associates Kevin Douglas (Clancy Hope) and Anthony Fleming III (Joe Louis), Javon Johnson (Jackie Robinson), James Vincent Meredith (Paul Robeson), Larry Neumann, Jr. (Branch Rickey) and Ernest Perry (Bill "Bojangles" Robinson). <br />
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Award-winning Ensemble Member J. Nicole Brooks (Black Diamond, Fedra: Queen of Haiti) directs this dazzling fast-ball script by Ed Schmidt. When 1947’s biggest African American personalities – baseball great-to-be Jackie Robinson, boxer Joe Louis, entertainer Bill “Bojangles” Robinson, actor and activist Paul Robeson – meet, ideas and ideals clash and sparks fly, and America’s national pastime will never be the same. <br />
</div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-31878610329606569712011-12-28T18:33:00.000-06:002011-12-28T18:33:31.422-06:00THE ADDAMS FAMILY at the Cadillac Palace Theatre<div dir="ltr" style="text-align: left;" trbidi="on"><br />
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<div style="margin-bottom: 0in;"> </div><div style="margin-bottom: 0in;">They're creepy and they're kooky...well sort of. In today’s world of odd families such as the Kardashians and the Osbournes one can't help but look at the Addams as almost any typical normal family out today and in the national tour that returns to Chicago after debuting here in 2010 it brings a feeling of closeness that was missing in the original production.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"> </div><div style="margin-bottom: 0in;">In the current version of the show Wednesday Addams, the ultimate princess of darkness played with comedic gloom by Cortney Wolfson is all grown up now and in love with a sweet, smart young man from a sadly respectable family played by Brian Justin Crum. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"> </div><div style="margin-bottom: 0in;">And if that wasn't bad enough Wednesday is feeling the growing pains that every child does and is losing the closeness she feels towards her mother Morticia played by Sara Gettelfinger who does everything she can trapped in a role that was created for Bebe Neuwirth. Now Gomez Adams must do something he's never done before – keep a secret from his his beloved wife. Everything happens to change though for the whole family on the fateful night that they host a dinner party for Wednesdy's “normal” boyfriend and his parents.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"> </div><div style="margin-bottom: 0in;">In the original production Nathane Lane who played Gomez made the role more about Nathane Lane playing Gomez and in the toru you get the impression that Douglas Sills has greated an original take on Gomez and supplied him with an exciting almost operatic voice that makes songs like “Trapped” and “Not Today” come alive and sound exciting. As mentioned above one feels for Ms. Gettlefinger a gorgeous statuesque actress who's saddled with a role that has a limited singing range and limited dancing due to the originator but makes the most of what she has in every way. Martin Vidnovic and Crista Moore as the boyfriens parents finally free of the squid storyline that plagued the original production are good though less steller then Terrence Mann and Caroleee Carmello who originated the roles. Blake Hammond as Uncle Fester gets the crowd pleasing and delightful “The Moon and Me” and is able to make it work by his voice and sweet disposition. As Grandma Pippa Pearthtree lacks any of the comedic force that original Jackie Hoffman had and it is notably absent.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"> </div><div style="margin-bottom: 0in;">It's interesting that after seeing the national touring production of La Cage aux Folles the week before the similarities within the script between shows an how each of them tackle the sitcom stylings of family disapproving of child's love and how everything’s overcome by a song and dance. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"> </div><div style="margin-bottom: 0in;">The show still feels like it needs a better storyline then they have given it and if the songs could be a little more original and distinct then they are it's surprising how well the actual show holds up with audiences. In today's age where we are presented with so many crazy television families that seems like they love the audiences more they love each other it's nice to spend some time with a healthy typical American family like The Addams.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"> </div><div style="margin-bottom: 0in;">THE ADAMS FAMILY is playing at the Cadillac Theatre through January 1<sup>st</sup> and for more information on tickets, visit <a href="http://www.broadwayinchciago.com/">www.BroadwayInChciago.com</a> </div><div style="margin-bottom: 0in;"> </div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-TI326VH6f9I/TvuwcpcSPvI/AAAAAAAAAhc/wPaXeqJ-Ja4/s1600/ADDAMS04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://2.bp.blogspot.com/-TI326VH6f9I/TvuwcpcSPvI/AAAAAAAAAhc/wPaXeqJ-Ja4/s320/ADDAMS04.jpg" width="320" /></a></div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-91330953755426105292011-12-23T12:13:00.000-06:002011-12-23T12:13:35.344-06:00La Cage Aux Folles at the Bank of America Theater<div dir="ltr" style="text-align: left;" trbidi="on"><br />
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<div style="margin-bottom: 0in;">At one point late in the second act of Jerry Herman's and Harvey Fierstein's “La Cage aux Folles” one of the characters shouts out Homosexuals to the two leading characters the effect is supposed to be shocking. I'm sure when the show first opened on Broadway 1983 it was but in the recent tour that opened up Wednesday at the Bank of America Theater and playing a 2 week engagement the effect has become more muted and less shocking then it was when the show originally opened. It could do with the source material which has been covered everywhere from an Oscar winning foreign film, to several sequels, to a big box office smash remake “The Birdcage.” It could be that the subject matter has transitioned from being a gay “Guess Who's Coming to Dinner” to something that would fit in a half hour sitcom. I think the problem lies more in a by the numbers production that seems to borrow from other recent revivals for ideas. </div><br />
<div style="margin-bottom: 0in;">However with all that said at the center of the show is a heart and soul about love, family bonds, and acceptance that is timeless and very hard to ignore even trapped in a production that could have been pulled together, walked though its paces and then thrown on stage for all to see. </div><br />
<div style="margin-bottom: 0in;"> La Cage Aux Folles tells the story of Georges, the owner of a glitzy nightclub in lovely Saint-Tropez, and his life partner Albin, who moonlights as the glamorous headliner Zaza. When Georges' son brings his financee's conservative parents home to meet the flashy pair and let's just say that madcap hilarity ensures! </div><br />
The one thing this national tour has going for it is a sensational full out top of the line Diva performance by Broadway veteran Christopher Sieber as Albin/Zaza. Mr. Sieber channels everything into his performance playing the laughs at full hilt, the drama with complete conviction, and the <br />
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<div style="margin-bottom: 0in;">Albin's rejection with a pain that is both real and unbearable all the while belting out his showstoppers “Put a Little More Mascara On” and the showstopping anthem “I Am What I Am”. It's the type of performance that will bring fans all over the country to him. </div><br />
Sadly the same can not be said by headliner George Hamilton who plays his role with a breezy attitude that almost comes across as sleep walking. <br />
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<div style="margin-bottom: 0in;">He does though posses natural chemitrsy with Mr. Sieber that makes one understand their relationship though when it comes to his music it became almost painful every time you realized he was going to slowly pace though one of Mr. Hermans's stunning ballad. World class songs like “Song on the Sand” and Look Over There” were given 15<sup>th</sup> rate edition performances that belonged at an airport cabaret lounge. </div><br />
<div style="margin-bottom: 0in;">The rest of the cast ranged from excellent Bernard Burak Sheredy and Cathy Newman as the in-laws the Dindon's to the adequate Billy Harrigan Tighe who is saddled with the role of the son Jean Michael but posses a serviceable singing voice to the way over the top Jeigh Madjus who seems </div>to have just been eliminated from RuPaul's Drag race right before going on stage.<br />
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<div style="margin-bottom: 0in;">The production directed by Terry Johnson who won a Tony Award for the revival really should be sending a bouquet of flowers to Sam Mendes and Rob Marshall for borrowing heavily on their concept for the smash revival of “Cabaret”. There were also traces if not full replications of Sweet Charity, and Kiss of the Spiderwoman in both design and choreography. Matthew Wright's costumes though we used to great effect and teetered the line from flashy to downright trashy which seemed right at home in this production. </div><br />
<div style="margin-bottom: 0in;">At this point when you have a story as timeless as La Cage aux Folles is it might be better served with a show that isn't as dated as this particular production is and if its going to be that way then spruce and sparkle it up with an exciting cast and production around it. </div><br />
La Cage Aux Folles is playing at The Bank of America Theatre, 18 W. Monroe from December 23rd, though January 1<sup>st</sup> tickets can be purchased though the <br />
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website at <a href="http://www.broadwayinchicago.com/">www.broadwayinchicago.com</a> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-Kkwk61sIhZo/TvTDyzyMhAI/AAAAAAAAAhI/PYWhYGftj0s/s1600/George.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="http://1.bp.blogspot.com/-Kkwk61sIhZo/TvTDyzyMhAI/AAAAAAAAAhI/PYWhYGftj0s/s320/George.jpg" width="320" /></a></div><br />
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</div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-65787814504071976582011-10-27T05:54:00.003-05:002011-10-27T06:23:38.294-05:00Marriott Theater: Irving Berlin's "White Christmas"<div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrNHsNslhOQP-Fi6glawQyhK4CzQSM3ASbRl3LnDkJGB3POiEXG34zR7sQopuX6QubxiIWFVdU5JFgS34Qw8e3E3NcWEOjguyBgpMTZrLNo1LIZVCMPGq2WmkE81GoiOnIVK2V70MC6E/s1600/WHITE+CHRISTMAS+Cast+of+WHITE+CHRISTMAS.jpg"><img style="margin: 0px auto 10px; width: 400px; height: 258px; text-align: center; display: block; cursor: pointer;" id="BLOGGER_PHOTO_ID_5668124913429377266" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrNHsNslhOQP-Fi6glawQyhK4CzQSM3ASbRl3LnDkJGB3POiEXG34zR7sQopuX6QubxiIWFVdU5JFgS34Qw8e3E3NcWEOjguyBgpMTZrLNo1LIZVCMPGq2WmkE81GoiOnIVK2V70MC6E/s400/WHITE+CHRISTMAS+Cast+of+WHITE+CHRISTMAS.jpg" /></a><br /><p style="margin-bottom: 0in;">I was at the store today and found it<br />extremely odd that right next to all the Halloween candy and costumes<br />there were Christmas decorations out. In this seasonal mash up it<br />made me forget that from Halloween to Christmas there is still an<br />entire month between them. In the Marriott's production of Irving<br />Berlin's “White Christmas” that opened last night the thought of<br />that time period looms over an otherwise enjoyable production.<br /></p><br /><p style="margin-bottom: 0in;">The show which played in an opulent but<br />hollow production that played at Bank of America theater last year<br />seems to have found the heart at the expense of the physical<br />production.<br /></p><br /><p style="margin-bottom: 0in;">In the Marriott's production things Rod<br />Thomas and Andrew Lupp add warmth, charm, and robust singing voices<br />to their roles of Bob Wallace and Phil Davis. Mr. Thomas scores<br />particularly with the classic ballad “Count Your Blessings Instead<br />of Sheep” while Mr. Lupp leads a showstopping dance number to “I<br />Love a Piano.”<br /></p><br /><p style="margin-bottom: 0in;">As the sisters Betty and Judy Haynes,<br />Stephanie Binetti and Tammy Mader sound beautilful together even if<br />their roles aren't as fleshed out as the men in the show.<br /></p><br /><p style="margin-bottom: 0in;">In yet another scene stealing role<br />Alene Robertson proves that there is simply no one else who can<br />delivery a line with deadpan ferocity and still belt “Let Me Sing<br />and I am Happy”with power and her trademark gutso.<br /></p><br /><p style="margin-bottom: 0in;">The rest of the cast handles the Babes<br />in Arms story of let's put on a show with comedic shots and great<br />dancing. The costumes done with the usual intelligence and style by<br />Nancy Missimi are excellent and the direction and choreography by<br />Marc Robin is nothing but first rate all the way.<br /></p><br /><p style="margin-bottom: 0in;">Even though as the show ended and we<br />walked into the October night it still made you imagine that it was<br />winter time instead of fall. <br /></p><br /><div> </div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2i4ce6l2WY1zRjaXMbm89OUhLBOUbv-6MK1VOqMBZpAERb6RaFugKItOhrQel_n-YCcJWJv7CVWmUJlmfEDmtqrLoFl9iOj7G8d3oabFEMYD1mlN04CdIa6AaxzJymBlEPNpg1RFiC3M/s1600/WHITE+CHRISTMAS+Stephanie+Binetti+and+Tammy+Mader.jpg"><img style="margin: 0px auto 10px; width: 320px; height: 400px; text-align: center; display: block; cursor: pointer;" id="BLOGGER_PHOTO_ID_5668124907423880786" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2i4ce6l2WY1zRjaXMbm89OUhLBOUbv-6MK1VOqMBZpAERb6RaFugKItOhrQel_n-YCcJWJv7CVWmUJlmfEDmtqrLoFl9iOj7G8d3oabFEMYD1mlN04CdIa6AaxzJymBlEPNpg1RFiC3M/s400/WHITE+CHRISTMAS+Stephanie+Binetti+and+Tammy+Mader.jpg" /></a><div> </div></div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-31356913189553943602011-08-31T18:26:00.006-05:002011-09-01T02:27:09.437-05:00For the Boys at the Marriott Theatre<div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05W4BBaykd96QMjbxhpYFRwt91Q3oTYmCJTKvIi9gCngLGRHrM2id8c2gQXiHAUDL0k9IZ_XjaY7rzU9Z0ISz2sH9yy59B7iuEZmY90vhiP7jDVCaxCZjqhPd0NARpRFAhq0KKzCO-HU/s1600/FOR-THE-BOYS-Michele-Ragusa-and-Timothy-Gulan-3.jpg"><img style="margin: 0px auto 10px; width: 400px; height: 282px; text-align: center; display: block; cursor: pointer;" id="BLOGGER_PHOTO_ID_5647166669916444642" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05W4BBaykd96QMjbxhpYFRwt91Q3oTYmCJTKvIi9gCngLGRHrM2id8c2gQXiHAUDL0k9IZ_XjaY7rzU9Z0ISz2sH9yy59B7iuEZmY90vhiP7jDVCaxCZjqhPd0NARpRFAhq0KKzCO-HU/s400/FOR-THE-BOYS-Michele-Ragusa-and-Timothy-Gulan-3.jpg" /></a><p style="margin-bottom: 0in;">Thanks for the memories seem to be the theme running though “For the Boys,” a new musical based on 1991 film which starred Bette Midler and James Caan that opened at the Marriott Theatre this past Friday night. Marriott is presenting the World Premiere of this musical and there are many things in this production there are also several things that one might wish had been explored a little bit more to eally provide a satisfying show. For the Boys follows the story of 1940s big-band inger Dixie Leonard played here with comedic ease and a big powerhouse voice by Michele Ragusa who along with America's premier entertainer Eddie Sparks played with comedic flair in a thankless role by Timothy Gulan,who became America's ouple entertaining the troops in times of war and peace.</p><p style="margin-bottom: 0in;">Though out the 30 year time span we see Dixie and Eddie fight, joke, and sing a lot of songs together, the script is well put together provide character depth for the most part
<br />and an abundance of some great liners. The role of Eddie Sparks seems to suffer however from the creators not knowing how to sculpt his journey along with Dixie, he's either a jerk or a great guy and at times both. It's hard for the audience to get behind him with an outline instead of an actual character. The other issue I had with the show was with all the time and energy devoted this could have been a great show with an original score. So much of the show seemed like it was willing to soar and then the music would start and the show felt grounded. The creators are smart to provide us with a classic score but with a story this rich and interesting it could
<br />have been so much better with a score that was original and appropriate to the time otherwise it gives off a why bother feeling to the proceedings. The cast is excellent particularly Anne Gunn as Loretta Brooks, who opens the 2<sup>nd</sup> act with a belty showstopper “That's Loyalty” and sparkles though out the show.
<br />The direction and choregraphy by Marc Robin are top notch and the costume design by Nancy Missimi is at the usual top level. With all the time, energy, and talent put into this production its a shame that the same couldn't be done about creating an original score that could have made this production soar when at best it plays on
<br />the ground. </p><p style="margin-bottom: 0in;">For the Boys is playing at the Marriott Theater in Lincolnshire though October 16<sup>th</sup>. Ticket prices
<br />range from $41 to $49 plus tax and handling fees. Seniors and Students receive $5.00 off a full price theater ticket on Wednesday 1:00pm, Saturday at 4:30 p.m. And Sundays at 1:00 and 5:00pm. To purchase tickets with a major credit card, call the Marriott Theatre Box Office at 847.634.0200 or Ticketmaster.com. Visit<a href="http://www.marriotttheatre.com/">http://www.marriotttheatre.com/</a>
<br />for more information. </p></div>
<br />StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-78962853337787140402011-08-22T23:30:00.004-05:002011-08-23T02:23:35.539-05:00The Student Prince at LIGHT OPERA WORKS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiIXFNYa6BFIH1s_A24Bo0-1_E2j6sgvNJiQoFyoyoME6_haP9RA0GPcFjrbbjj6YE4RNUmHMV5s4sE5bcgogvQC_ZlHysTlA1C7j5dFkEhYE7LPfCN6zh44Ev5cPIgQmblbbX4XchcGo/s1600/The+Student+Prince.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 272px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5643940608469797362" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiIXFNYa6BFIH1s_A24Bo0-1_E2j6sgvNJiQoFyoyoME6_haP9RA0GPcFjrbbjj6YE4RNUmHMV5s4sE5bcgogvQC_ZlHysTlA1C7j5dFkEhYE7LPfCN6zh44Ev5cPIgQmblbbX4XchcGo/s400/The+Student+Prince.jpg" /></a>
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<br /><p style="MARGIN-BOTTOM: 0in">In “The Student Prince” young love blossoms in Old Heidelberg as the betrothed heir to the throne goes off to a university, only to fall for a beautiful waitress in the local beer garden. </p>
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<br /><p style="MARGIN-BOTTOM: 0in">No this is not a plot to the latest National Lapoon film but actually the story that the 1924 Sigmund Romberg and Dorothy Donnelly operetta is based on and minus that small detail the rest of the show is structured with a glittering production by Light Opera Works that opened Saturday night at Cahn Auditorium and runs until August 28th.</p>
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<br /><p style="MARGIN-BOTTOM: 0in">In the German kingdom of Kalsberg, the young prince Karl Franz sung in glorious voice by William Bennett takes a year off from his impending marriage and ascension to the throne. In his travels he brings his lifelong confidant and educator, the kindly Doctor Engel, played by Bill Stone, who is the type of mentor anyone would want, who also happens to posses some power house pipes. Along for the ride and to the benefit of the production is Karl Franz's valet Lutz and his footman Hubert. As Hubert Mark Anderson has some delightful moments and would normally have much more singled out but opposite a scene chewing criminal such as Dale Benson as Lutz all is lost to him. A Chicago stage legend that I grew up with at the old Candlelight/Forum Theatre's Mr. Benson's knows just the right performing style for this type of show, taking each line and making it memorable. In the second and third act he's joined by Jody Goldman another pro at milking the right tone for these scenes, their work here a lesson in comedy.</p>
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<br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZA1pucTns5HTcjhZAz0tHbcyGvvhpGkPxtb1HXpWCWm7ZW8xPbX56KIT207QW2CuIx3IggR_wF_dMdBQKfckbY3n_D0UFSN7y1H8fKm-7rfu1i7Ei5UT6H5B3Bzl3_K751wevv6eivtY/s1600/Dale+Benson.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 274px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5643940598717317410" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZA1pucTns5HTcjhZAz0tHbcyGvvhpGkPxtb1HXpWCWm7ZW8xPbX56KIT207QW2CuIx3IggR_wF_dMdBQKfckbY3n_D0UFSN7y1H8fKm-7rfu1i7Ei5UT6H5B3Bzl3_K751wevv6eivtY/s400/Dale+Benson.jpg" /></a>
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<br /><p style="MARGIN-BOTTOM: 0in">In every Operetta there is a fiery soprano and here she is played by Danielle M. Knox, looking very similar to Chicago actress Susan Moniz, she inhabits here role with warmth and charm and enough trills to impress the audience. One wishes she was just a little bit stronger of a fiery presence to see why everyone in the town in captivated by her but those are small potatoes compared to everything. The other female lead of Princess Margaret is played with grace and dignity by Stephanie Stockstill.</p>
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<br /><p style="MARGIN-BOTTOM: 0in">The rest of the principals and large chorus handle everything with precision and ease from the 26 member orchestra that's conducted with expertise by Roger L. Bingaman, who makes you feel like he has a strong handle on some difficult music. </p>
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<br /><p style="MARGIN-BOTTOM: 0in">The pacing and the sequences of the show felt like they could have been snapped up a bit but overall the direction by Rudy Hogenmiller is solid, he also manages to pull off the difficult task of making a show that could be stuffy and slightly out of place and is able to make it entertaining and relate able to a contemporary audience.</p>
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<br /><p style="MARGIN-BOTTOM: 0in">It's interesting to note that the show was the longest running show on Broadway in the 1920s, beating the far more popular and much more enduring musical Show Boat. It's a joy that Light Opera Works took this piece on and presented it as its not done around here anymore and I commend them for putting together a wonderful production with some of the best resources at their disposal.</p>
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<br /><p style="MARGIN-BOTTOM: 0in">LIGHT OPERA WORKS presents The Student Prince Opening Saturday August 20<sup>th</sup> and playing Sunday August 21<sup>st</sup> at 2pm, Wednesday the 24<sup>th</sup> at 2pm, Friday the 26 at 8pm, Saturday the 27<sup>th</sup> at 8pm and Sunday the 28<sup>th</sup> at 2pm. It's playing at the Cahn Auditorium at 600 Emerson Street, Evanston, Il with tickets on the Main Floor for $48, $68, $77, and $92, The Balcony for $32, $48, $68, $77 ages 21 and younger half price.</p>
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<br /><p style="MARGIN-BOTTOM: 0in">Tickets can be order by either calling (847) 869-6300 or though the website at <a href="http://www.lightoperaworks.com/">http://www.lightoperaworks.com/</a></p>
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<br /><p style="MARGIN-BOTTOM: 0in">As a completely unrelated note I did keep thinking while watching “The Student Prince” how I would kill to see a production of Alan Jay Lerner and Kurt Weill's rarely done “Love Life” and possibly a revival of “Lady in the Dark” with Mary Ernster as Liza, other classic shows that bridge the gap from Musical Theater to Opera. I know Light Opera Works has tackled “Lady in the Dark” before but with America's obsession with exploring there dreams might off set the woman are only happy with the right man aspects. As “Love Life” a show that has been done only a few times spans the American Dream's 150 years, if they could at all pair that up with Leonard Bernstein's “1600 Pennsylvania Avenue,” another problematic show with stunning music, people from all around would come.</p></div>
<br />StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-14489483737843171812011-07-14T04:11:00.003-05:002011-07-14T04:21:19.503-05:00Kelly Clarkson review of leaked song's<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii5MBiCkC7YvT6HhytV24U9w2HrewixMbcxLe-1OkWhOd1krzQfeOapRapl1smHFk-7wECJllH2hgmgQEFB3DwHzGLjmJkJ70Drfj7bra__QswNHy5hNj6Ydxyx2An-54z7z3_OwDWKoQ/s1600/Kelly.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 300px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5629135132903560722" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii5MBiCkC7YvT6HhytV24U9w2HrewixMbcxLe-1OkWhOd1krzQfeOapRapl1smHFk-7wECJllH2hgmgQEFB3DwHzGLjmJkJ70Drfj7bra__QswNHy5hNj6Ydxyx2An-54z7z3_OwDWKoQ/s400/Kelly.jpg" /></a>Over this past weekend dealing with the lingering depression of having my identity stolen, yeah, sorry still can't let that go, getting another year older, which doesn't bother me except for the week before my birthday and then the week after and then I'm fine, and then being left alone after family leaves. I needed something to cheer myself up and early Sunday morning it came though the powerful sounds of The Lady Clarkson and some leaked new material from one of the greatest powerbelters ever! Ms. Kelly Clarkson, who besides being, so much more then the original American Idol winner is also one of the few artists who is able to transcend the style of music with just her voice alone. Doubt me if you will, but think about it, there are a lot of people who hate American Idol but still love Kelly Clarkson. There are people who will mock all the achievements from anyone connected to Idol but will still say that Idol found its one true superstar on the first season.<br /><br />I will always have a special place in my heart for the following Idol women: Jennifer Hudson, Carrie Underwood, Katharine McPhee, Carly Smithson, Allison Iraheta, Crystal Bowersox, and Haley Reinhart but none of them will ever equal my love for The Lady Clarkson as I like to name her because she is simply fantastic. I even went as far as to join the Kelly Clarkson fan club to show my love for her, well that and they also offered premium seats for her concerts and I got to tell everyone I am a member of the Kelly Clarkson fan club. Which surprisingly doesn't get you the dates that you'd expect it too and allows many people to mock a thirty something just because he dares show his love for Ms. Kelly Clarkson.<br /><br />Anyhoo, in the midst of my weekend depression, not to be confused with my weekday depression, they are in separate categories of course I found “unreleased” tracks that are supposedly going on Kelly's fifth studio disc. I have heard that in the past when her songs have leaked they are instantly removed from consideration from her album, however I hope that with some of these that thought is reconsidered as both the song and her delivery deserve a professional release. I'm not going to include links to these songs as you can find them with a little help from google but I will review them as they were leaked.<br /><br />“<b>Dumb + Dumb = You” - </b>Yes that is the actual title of the song, and if there is anyone in music today that can sell a title like that it's Kelly Clarkson. If you don't believe me just look at “My Life Would Suck Without You” too understand. From the opening guitar riffs to the moment that Kelly's voice starts off seductively and then builds, you know this is not the type of song your expecting. Like most Clarkson songs she starts with a slow burn that builds into a catchy chorus that finds the listener singing along and getting to tell off an ex when they never had the actual chance too. No one tells off an ex like Ms. Clarkson can.<br /><br />“<b>I Forgive You” - </b>The opening sounds almost have a kazoo sound to them with Kelly starting off “I forgive you, I forgive me, now when do I start feeling again” in a simple tone until the chorus bursts out with her pleading that the damage is done and they need to feel again. To describe this song is not enough, this is one where you not only have to listen to it once but several times to feel the hook, but once your hooked you can't get enough. This quiet simply could be single material from her.<br /><br />“<b>Let Me Down” - </b>With the opening strains you think you're getting a song that has been played before and then with the opening lyrics of “I think I might be a fortune teller, I read your face just like a letter, the funny thing about forever, is that it comes with a side of never never” you think you're going to get a crappy B-side song, that is until Kelly lets loose on the chorus and proves that any of her songs could be a single based purely on vocal capability. She goes further in the song building and building until she unleashes a “I Know by Know” that ranks up there with the power of her “Behind These Hazel Eyes” or “Because of You” as sheer Clarkson bombast. This is the type of song only someone with the vocal power of Kelly Clarkson could make work and she makes it work.<br /><br />“<b>What Doesn't Kill You Makes You Stronger” - </b>Starting off with a sound that reminds you of Coldplay and then going into an intro that is strictly Kelly. It has one of those you think you got the best of me, you think you got the last laugh and then unleashes into the trademark I will survive deliveries that Kelly is famous for. Gloria Gaynor had to tell us that “I will Survive” while Kelly can do it with her voice and delivery alone. She makes this into an anthem on delivery alone, she builds from the soft passages to the full out powerbelting that she is known for. The magic about Ms. Clarkson that I think is missed is that she's able to bring emotion to her voice in a way that I think is missing with most of the current singers. This could be one of those kiss off anthem songs that everyone knows only if the music bigwigs decided to release it that way.<br /><br />Those were the songs that have been leaked within the past few days I'm also going to include a few songs that I've found and hope are included in her fifth studio release.<br /><br />“<b>Empty Handed” – </b>Starting off with the strains of an acoustic guitar followed by the da,da's you think you're going to get a simple song but with Ms. Clarkson any simple song starts out and then builds to a full out singalong chorus to the strains of “You took me for granted, I don't understand it, when looking for answers I came up empty handed, but don't worry about me I'm stronger then you think....” and there lays the magic of any Clarkson song. She will move on and get stronger no matter what her ex thinks and in reality isn't that we all want in life.<br /><br />“<b>Tell Me a Lie” - </b>This is a tricking type of song. The first lines of the song make you think it's a song that's decent but not a great song, that is until you hear the lines “Your Words cut like a knife...then you get further into the song until the chorus where Kelly is pleading “tell me I'm a screwed up mess, that I never listen.... Until it blasts into full power chorus, which is the area that NO ONE will ever be able to beat Kelly vocally. This is one of those songs that comes to life during the choruses but once it's alive it won't die. She sells this song all the way.<br /><br />It's unclear at this point which if any of these songs will make her fifth studio disc and if history is any indication the fact that these have now been made public will decrease their chances of making it. It is a shame because these are in the context of pop music pretty good songs that is anything so off the power of Kelly's vocals and her delivery and should be included on her next studio disc. If for nothing else then as bonus tracks so we can have even more unreleased tracks to go along with these leaked tracks.<br /><br />As a side note I do have to mention Kelly's killer version of the White Stripes song “<b>Seven Nation Army</b>” that she performed at an event for Coca Cola earlier this summer. She starts off with simple jazz tones that makes the non-Clarkson fans think the song is too big for her, and that's where she unleashes the vocal beast that we love her for. She builds the song until she's belting up a storm and is simply is a vocal powerhouse that can't be bettered by anyone.<br /><br /><a href="http://youtu.be/MwcFL39IM9s">http://youtu.be/MwcFL39IM9s</a>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com3tag:blogger.com,1999:blog-5952021749417305441.post-56557645655903054132011-07-14T01:22:00.002-05:002011-07-14T01:29:15.546-05:00“Shout! The Mod Musical” at Marriott<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTsm5aQlpJqDcjo4eeBRbarM7t7f8KvKTCT_oAnN5CBqrV3hWBJDQL995TWR9Bra3I1m4FJcY9ywma96SeQLumT2B0xtxJ6QUoJgv7hErAmhh9UtAHkksvXHd_mgOWKwgZ5mjBL92eUTc/s1600/SHOUT+Carey+Anderson+and+Ensemble+lr.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 265px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5629089830007430226" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTsm5aQlpJqDcjo4eeBRbarM7t7f8KvKTCT_oAnN5CBqrV3hWBJDQL995TWR9Bra3I1m4FJcY9ywma96SeQLumT2B0xtxJ6QUoJgv7hErAmhh9UtAHkksvXHd_mgOWKwgZ5mjBL92eUTc/s400/SHOUT+Carey+Anderson+and+Ensemble+lr.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in">The days of summer are long, tedious, and draining but those are words that I could never use to describe anything about Marriott Lincolnshire blistering production of “Shout! The Mod Musical” that opened up earlier in July and would have been reviewed much sooner if I didn't have a birthday and computer hacker at the same time.</p><br /><p style="MARGIN-BOTTOM: 0in">The last time “Shout!” was done it was more of a meek whimper then the Marriott's production which seems to be saying we're sorry for coming out with a whisper and to make up for it we're going to “Sell it Girls.” Which works as this show pays homage to the 60's a decade with some of the most irresistible girl singers and groups that ever existed in the first place. You give anyone today the music from this era and how can they not shine with these songs. From anything to Jessie Muller's perfectly modulated “How Can I Be Sure,” Tammy Mader's defiant “These Boots are Made for Walking,” to Raena Whites belted out take on the title tune these are fresh delivery’s on classic songs staged to perfection by Rachel Rockwell who is becoming the director of Chicago musical theater.</p><br /><p style="MARGIN-BOTTOM: 0in">My only complaint about this entire production and it has nothing really to do with “Shout” I just wish Marriott would spend more time doing book musicals then revues but that is a small complaint especially on a show that fulfills in so many other ways. Their production of “Shout! The Mod Musical” is as loud and strong as any of their other revues and a great way to get over the Chicago heatwave. </p><br /><p style="MARGIN-BOTTOM: 0in"><em><span style="color:#800000;">Shout! </span></em>continues through Aug 14 at the Marriott Lincolnshire Theatre, 10 Marriott Dr., Lincolnshire. Tickets are $41 – $49. For more info, go to <a onclick="javascript:_gaq.push(['_trackEvent','outbound-article','www.marriotttheatre.com']);" href="http://www.marriotttheatre.com/">www.marriotttheatre.com</a> or call 847-634-0200.</p>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-44859029641968328942011-06-20T19:10:00.003-05:002011-06-20T19:13:11.371-05:00THE HOMOSEXUALS at About Face Theatre<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsGvk07DQ6ZV5fO0-j0SrFfOG29sqr5ZXb83cSjkurVuMiz5v3Ubn2hyyKTZIcWst9YhcdsYnNz2uEEFJIbdFyH97cvS3jAnIXC8CFO05HD6HTjDKGoYqAw0USmqI3KHD4sBmieobcUE/s1600/aft_264-Homepage-Crop.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 369px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5620458970792327634" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsGvk07DQ6ZV5fO0-j0SrFfOG29sqr5ZXb83cSjkurVuMiz5v3Ubn2hyyKTZIcWst9YhcdsYnNz2uEEFJIbdFyH97cvS3jAnIXC8CFO05HD6HTjDKGoYqAw0USmqI3KHD4sBmieobcUE/s400/aft_264-Homepage-Crop.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">If you take a lot of “Love, Valour, Compassion!”, roll it with some of the fluidity of “La Ronde” add some of the self loathing of “Boys in the Band”, mix in a little bit of racy confessional of “Party” and cook it in a time line that resembles “Merrily We Roll Along” and you have About Face Theatre's World premier of Philip Dawkins “THE HOMOSEXUALS” which opened at the The Victory Gardens Richard Christiansen Theater last night. </span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">About Face Theatre concludes it's 15<sup>th</sup> anniversary season and kicks-off GLBTQ Pride Month with the world premiere of THE HOMOSEXUALS” by Chicago playwright Philip Dawkins, directed with loving care and a strong sense of focus by AFT Artistic Director Bonnie Metzgar and features a talented cast that can turn from heartbreak to laughs in the blink of an eye. </span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">The play starts out very much like Stephen Sondheim's “Merrily We Roll Along” at the end of a short relationship between Evan and Peter. Evan is breaking up the romantic aspect of the relationship he has with Peter in hopes of finally being able to go at it alone and wanting to be friends instead. The play then follows a time line in reverse with Evan and his relationships within a circle of friends that by the end of the play shows us his first encounter with the people that will play an important part of his life. </span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">The play captures in an honest way the thin line between friendship, and love and how those in the gay community can sometimes blur those lines in search of the hopes that everyone looking for love has or will settle for in life. It also shows by staying in those lines can destroy the foundation of those very relationships that you spend time cultivating in search of selfish love. </span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">Earlier in the day I had caught one of the final showings of the film version of Stephen Sondheim's “Company” and again noticed the similarities between THE HOMOSEXUALS and Company in the sense that both shows are about one man on the outside looking in with his highly varied lot of friends. However in Company we are presented with Bobby a character that is all charisma and charm who bounces from one zany couple to another all the while seeming the same yet never losing what his friends obviously see in him. </span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">In THE HOMOSEXUALS we are left with Evan who appeared to be the least interesting person in his circle of friends. It's a hard trick to pull off in theater or anywhere else, to show a character's warts before you can show what makes them endearing. I felt Patrick Andrew’s Evan tried as hard as he could but in a role that seems to be tossed from one scene to another came across as being whatever he needed to be for that particular scene and made it very hard to get emotionally invested in his character when things are presented in reverse.</span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">The ensemble is filled with actors who mine the rich complexities of the script and bring a fluidity to the piece when their roles are mostly required to be just in scenes. As Peter Scott Bradley pulls out the full force of battered show campy without sacrificing any of the level of pathos he could have easily done, Stephen Cone's portrayal of Michael, one of the few in this group who could only be called friend hits with devastation as it also rings home all too honestly. As the lone female in the group Tam Elizabeth Ledo's not only owns the stage but appears to still be on it far after her scene has come and gone. Ms. Ledo is a force of nature particularly in her rapid fire take down of Evan's internal homophobia. While Scott Bradley, Eddie Diaz, and John Francisco have the least fleshed out character scenes they all do well connecting the dots within those scenes to bring out what makes Evan the person he is today one just wishes those lines for those actors gave them a little more strength to play off of.</span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">Once the moving back in time structure was established it wasn't difficult to follow along and in many instances for the cast played well in scene structure and dramatic arc unlike say Merrily were the device lessens the power of the piece this actually helped it grow. </span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">There are so many things in THE HOMOSEXUALS that are wonderful and leave you with a warm feeling of being at a party with a group of people that you have known forever, people that can make you laugh and cry and feel in a few moments and feel like a family that you might never have had . If only we could feel the same way about the center of the family that we we do with its surroundings.</span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="font-family:Arial, sans-serif;"><span style="font-size:85%;">THE HOMOSEXUALS plays June 11 though July 24, 2011 at The Victory Gardens Richard Christiansen Theater, 2433 N. Lincoln Avenue in Chicago. Tickets are currently available at <a href="http://www.aboutfacetheatre.com/">www.aboutfacetheatre.com</a> or (773) 871-3000. </span></span></p><br /><br /><div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-91357047952533189622011-06-18T22:48:00.002-05:002011-06-18T22:51:35.580-05:00The Homosexuals<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_VuUHEZLqhQNxsD6Q48c8oN_P3pm_Ufl98K4JA2PCvQIuVxkIblEWqu5wDLfG9zn7eH7Zh8k8OCaVl5CI6VQ8HGi0YUcfnG8bs1XajvbvSxIWCraZhyQF0keY4f8jvYHtBSyxL_xy2Q/s1600/aft_264-Homepage-Crop.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 369px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5619773163264696434" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_VuUHEZLqhQNxsD6Q48c8oN_P3pm_Ufl98K4JA2PCvQIuVxkIblEWqu5wDLfG9zn7eH7Zh8k8OCaVl5CI6VQ8HGi0YUcfnG8bs1XajvbvSxIWCraZhyQF0keY4f8jvYHtBSyxL_xy2Q/s400/aft_264-Homepage-Crop.jpg" /></a><br /><strong>THE HOMOSEXUALS</strong> <br /><h2 style="TEXT-ALIGN: left"><span style="COLOR: #333333"><strong>BY PHILIP DAWKINS</strong></span></h2><pre><strong><span style="FONT-FAMILY: georgia, palatino; FONT-SIZE: small">JUNE 11 - JULY 24, 2011<br />VICTORY GARDENS RICHARD CHRISTIANSEN THEATER<br />2433 N. LINCOLN AVE.<br /><br />Tickets on sale NOW! <a href="http://purchase.tickets.com/buy/TicketPurchase?organ_val=22686&event_val=HOMO&schedule=list">Click HERE to purchase</a> or call Victory Gardens at 773 871 3000.<br /><br />Opening Night Gala: June 19th at 5pm. Click <a href="http://aboutfacetheatre.com/?pg=comingup">here </a>for more details.<br /></span></strong><span style="FONT-FAMILY: georgia, palatino; FONT-SIZE: small">Starring AFT Artistic Associates <strong>Patrick Andrews</strong>, <strong>Scott Bradley, Elizabeth Ledo</strong> and <strong>Benjamin Sprunger</strong>, as well as <strong><br />Stephen Cone, Eddie Diaz</strong> and <strong>John Francisco</strong>, THE HOMOSEXUALS is a play exploring friendship through the lens of sex.<br />On his first night in a midwestern city, Evan meets a circle of men who become his closest friends and potential lovers. Chicago<br />playwright Philip Dawkins' comedic and heartbreaking work is for anyone who's ever fallen in love with a friend. In other words,<br />it's a play for humans.</span></pre>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-66915587815749650992011-06-08T10:18:00.003-05:002011-06-08T10:28:46.814-05:00Chicago the Musical with Broadway in Chicago<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj09CCa0_iA4o8v-7POIRUloh5eMKjm3yXMJTpBBth0GqvzaA4N_Gyb6Q-zn-smbFIQf380xshKHCj2Oud1A8T2GgPBJobzYlnhnjsVCidXPn64ejaTzH2HFrY5loPQFo634Kvcnu-6OUI/s1600/300-Jazz3.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 280px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5615869319455008546" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj09CCa0_iA4o8v-7POIRUloh5eMKjm3yXMJTpBBth0GqvzaA4N_Gyb6Q-zn-smbFIQf380xshKHCj2Oud1A8T2GgPBJobzYlnhnjsVCidXPn64ejaTzH2HFrY5loPQFo634Kvcnu-6OUI/s400/300-Jazz3.jpg" /></a>“You are about to see a story of murder, greed, corruption, violence, exploitation, adultery, and treachery ---all those things we all hold near and dear to our hearts.”<br /><br />At the beginning of the show a woman in black utters those line and out of all those things at least she's telling the truth, what she leaves out is you are also seeing a story a brilliant story sadly as current today as it was ahead of its time in 1975. The times just needed a while to catch up to the show.<br /><br />The current tour playing a limited one-week engagement at the Oriental Theater, the Tony award winning Kander & Ebb smash hit “Chicago” brings a freshness and excitement that I haven't seen in several other touring companies of this 15 year old hit that I haven't seen in a while.<br /><br />Thanks to the rapid flying direction by directed by Scott Faris, recreated from the revivals original direction by Walter Bobbie the show moves around at a quick piece, finds some originality, which is a joy considering he's working with a piece that by now is so well known thanks to the Oscar winning film and numerous television performances. If Bristol Palin is performing a number on “Dancing with the Stars” then there's a possibility that the show might be a tad bit overexposed. While Mr. Faris shows an assurance that never seems to falter, he is not the only one quilty of this heavenly crime. His partner Gary Chryst choreography while recreating Ann Reinking's moves brings an electricity to the moves that will leave you feeling like you just got a workout in your seat.<br /><br />Their behind the scenes work shows off with the onstage performances notably Seinfel's John O'Hurley who brings an easiness and comedic flair to the role of lawyer Billy Flynn to the point that you almost felt like he was the star of the show. I say almost because of what heart the show may pretend to have is those killer dames of Tracy Shayne as Roxie Hart and Terra C.MacLeod's Velma Kelly. Ms. Shayne who plays the role with a bitter jadedness that might come across as being detached from the proceedings comes to life during her big first act solo “Roxie” and sells the heck out of “Me and My Baby.” From the moment she makes her appearance Terra C.MacLeod plays Velma Kelly as her life depended on it, as which it should since Velma in the right hands can be the show stealer, and in her telegraphed to the last role performance Ms. C.MacLeod comes dangerously close to doing just that. Ron Orbach as the put upon Amos Hart shows that no one could look right past him during his number “Mr. Chellophane,” while Roz Ryan plays her performance of Mamma Morton into another state but has the audience eating out of the palm of her hand. The rest of the cast performed this show with a freshness and excitement that could be felt at the back of the theater.<br /><br />The sets, costumes, and lighting hold up to the high standard quality of this production. In a town where all those sins are a common occurrence this is simply a show that can not be missed.<br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbo_kxEr1KvxhPJisyzVcfapd0jt3TyHb0sZtzjoh_LC1Le4B0K9-T_9R0BF8Nn-yfCc2StNLDRFnEntqmrJKIZoq84CaTFrEFpVABhrq6L2sNGEzYu77rZLcI0DTmQZT7quHX7n2Ya_I/s1600/ohurley+Cigar+Shotsmaller.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 314px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5615869311472354050" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbo_kxEr1KvxhPJisyzVcfapd0jt3TyHb0sZtzjoh_LC1Le4B0K9-T_9R0BF8Nn-yfCc2StNLDRFnEntqmrJKIZoq84CaTFrEFpVABhrq6L2sNGEzYu77rZLcI0DTmQZT7quHX7n2Ya_I/s400/ohurley+Cigar+Shotsmaller.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in">“Chicago” is playing at the Oriental Theater at 24 W. Randolph Street thru Sunday June 12<sup>th</sup>. Individual tickets are on sale now and range from $30 to $95. Tickets are available at all Broadway in Chicago Box Offices (24 W. Randolph St: 151 W Randolph St., 18 W. Monroe St. and 175 E. Chestnut), the Broadway in Chicago Ticket Kiosk at Water Tower Place (845 N. Michigan Ave.), the Broadway in Chicago Ticket Line at (800) 775-2000, all Ticketmaster retail locations (including Hot Tix and select Carson Prairie Scott, Coconuts and fye stores), and online at <a href="http://www.broadwayinchicago.com/">www.BroadwayInChicago.com</a>. Tickets are available now for groups of 15 or more by calling Broadway in Chicago Group Sales at (312) 977-1710.</p><br /><p style="MARGIN-BOTTOM: 0in">For more information, visit <a href="http://www.chicagothemusical.com/">www.chicagothemusical.com</a> or <a href="http://www.broadwayinchicago.com/">www.BroadwayInChicago.com</a></p><br /><br /><div></div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-55292780907268847832011-06-08T04:27:00.003-05:002011-06-08T04:42:18.566-05:00The Cherry Orchard at Raven Theatre<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCkAW3cTrPhxX6jQwLrpJ7g9AbJ5uAM37oMTCstsTN_3lDkzsHQB7rt5-D6Vw_mVXyvr4vu8QD49ov3Gz4vCV1Y4ES1kleySvGpZpru4iEJ9-S9IYGUKv3IiOWmRh2a7M18eTFYfSzUF8/s1600/Cherry+Orchard+horiz+1.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5615778667391920530" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCkAW3cTrPhxX6jQwLrpJ7g9AbJ5uAM37oMTCstsTN_3lDkzsHQB7rt5-D6Vw_mVXyvr4vu8QD49ov3Gz4vCV1Y4ES1kleySvGpZpru4iEJ9-S9IYGUKv3IiOWmRh2a7M18eTFYfSzUF8/s400/Cherry+Orchard+horiz+1.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in">“Tragedy is Easy, Comedy is Hard” </p><br /><p style="MARGIN-BOTTOM: 0in">That famous phrase kept running though my head Sunday night during Raven Theatre's production of Anton Chekov's final play “The Cherry Orchard,” which closed out their 2010-2011 season. </p><br /><p style="MARGIN-BOTTOM: 0in">Sadly also running though my head was that Raven Theatre seems to have gotten the comedy down pat but at the expense of the tragedy and theatricality of this piece.</p><br /><p style="MARGIN-BOTTOM: 0in">The Cherry Orchard is a play that some companies do the show as a strict drama and some others, most notably the 1977 Lincoln Center production that featured Irene Worth, Raul Julia, Mary Beth Hurt and Meryl Streep as Dunyasha play up the comedic aspects of the piece without sacrificing the drama. However if you play up the comedy then you should up the dramatic aspects of the piece and the aspect that seemed most lacking in this production was the drama within the characters. The cast with a few exceptions seemed to either overplay the comedy or left the drama alone so much that the play fell flat.<br /></p><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGf5-GCQk-4CbPNZEQ_6V4JZJU9v686RZx1KiAmYIBlfTohOww2sgkiSXRNU-pPcfgn7t7v5qcehy-qriTXVqHGtX0o01htePWknj9W5ZRKAW61gR_IZ-2EZGLGVD2kBZGEESAUzFM7lc/s1600/Cherry+Orchard+vert+2.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 346px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5615778657275019634" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGf5-GCQk-4CbPNZEQ_6V4JZJU9v686RZx1KiAmYIBlfTohOww2sgkiSXRNU-pPcfgn7t7v5qcehy-qriTXVqHGtX0o01htePWknj9W5ZRKAW61gR_IZ-2EZGLGVD2kBZGEESAUzFM7lc/s400/Cherry+Orchard+vert+2.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in">The play, tells the tale of the Ranevskayas, a Russian family of fleeting wealth and history whose estate faces financial ruin unless strong measures are taken to save it. With the structure of their way of life crumbling, money has run dry and options are few. When the family matriarch Lyubov Ranevskaya returns from the arms of her freeloading younger lover, a devoted former servant provides a solution. Will the family take action to save their estate and wealth or will they be condemened by their own arrogance and inertia.</p><br /><p style="MARGIN-BOTTOM: 0in">Raven's production will draw on the historic parallels of post-emancipation Russia and America, they do this by casting African American actors as the servants to emphasis the class differences that define one's place in society. However the issue this poses is besides that it bothers you that slavery seems to be used as a gimmick it also takes you out of the setting of Russia in the early 1900's. </p><br /><p style="MARGIN-BOTTOM: 0in">Besides that the actors seem to be directed to perform their monologues out to the audience instead of dialogue to one another, this is another jarring device that makes it hard to concentrate on the performances. </p><br /><p style="MARGIN-BOTTOM: 0in">Which isn't necessarily a bad thing in this production. As Lopakhin the families trusted friend Frederick Harris seems to be telegraphing his role to the last role in an intimate theatre, Sophia Menedian delivers her role as the dutiful and lovestruck daughter Anya in a whiny tone that doesn't convey that she is as guilty as her family in the delusions of their future. Jason Huysman as Pishchick is saddled with an unfortunate costume and Ron Quad as Gayev finds humor in Gayev however he misses a lot of the sadness that you should feel for this man. I found Manny Buckley's to lack the sexual confidence that Yasha should have. In the showy leading role of Lyubov Ranevskaya, Joann Montemurro lacked the ability to convey a grand dame that is losing everything. There were certain moments that felt like they could have been played up. Most noticeably when she tears up the letter from her former lover. This was done in an emotionless moment that felt like she was merely tearing up a bill or as she's speaking to Michael Peters student Trofimov, in her speech about love you never felt like she had ever been in love.</p><br /><p style="MARGIN-BOTTOM: 0in">There were several bright spots in this production, I found the above mention Michael Peters to be quite impassioned and delivered his lines with conviction. Liz Fletcher playing the farcical Governess Charlotta had the audience eating out of the palm of her hand while as the servants Fernando S. Albiar and Kelli Strickland played the humor of their roles to the hilt. I also enjoyed the work of Helen Young as the put upon adopted daughter Varya. She realized that her role was grounded in tragedy and stayed there.</p><br /><p style="MARGIN-BOTTOM: 0in">The Cherry Orchard is a play where it shows the follies of the wealthy and that though their own arrogance bring their problems unto themselves. Raven Theatre was able to make this piece run smoothly but also at the expense of the characters and the dramatic tension of this piece.</p><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0FvprVRXCGXBldmBGN-v8EdziqbY1Ow-NosHzIk6eJXMSNANR_aY41N2o6OrL4RQXGSVciruJk8B9-izXzoz9RApneW0zUmPN7GY3nbr5wzs2hUHAkVekMutnSfbljObjBNqZSUm1h3c/s1600/Cherry+Orchard+vert.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 347px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5615778647324917298" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0FvprVRXCGXBldmBGN-v8EdziqbY1Ow-NosHzIk6eJXMSNANR_aY41N2o6OrL4RQXGSVciruJk8B9-izXzoz9RApneW0zUmPN7GY3nbr5wzs2hUHAkVekMutnSfbljObjBNqZSUm1h3c/s400/Cherry+Orchard+vert.jpg" /></a> The Cherry Orchard plays Thursdays through Saturdays at 8pm and on Sundays at 3pm, at their East Stage 6157 N. Clark. Tickets are $30 for all shows with $5 discount for students/seniors, $15 for groups of 10 or more for Thursdays, Fridayand Sunday performances, subject to availability. Free parking is provided in a lot adjacent to the theatre.</div><br /><div></div><br /><div>Tickets can be orded though the website at <a href="http://www.raventheatre.com/">www.raventheatre.com</a> or 773-338-2177. </div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-81398795026189648772011-06-05T10:46:00.002-05:002011-06-05T10:57:20.974-05:00Brigaddon at Light Opera Works<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1tNKVQljITuYJSSrjbj3K_u14TjVp9LA5FrNN-0Onx2utbxs25duX2KLd2chA7Y37YTCUOfllkmPndVHeZGI0p_nGVSKwC-hgYvvu4GA9yTRJg_USVHmfxkA0-ICfbpb6FDoADiGXJw/s1600/85.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 266px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5614763994735944066" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1tNKVQljITuYJSSrjbj3K_u14TjVp9LA5FrNN-0Onx2utbxs25duX2KLd2chA7Y37YTCUOfllkmPndVHeZGI0p_nGVSKwC-hgYvvu4GA9yTRJg_USVHmfxkA0-ICfbpb6FDoADiGXJw/s400/85.jpg" /></a><br /><br /><p style="MARGIN-BOTTOM: 0in">As I watched Light Opera Works glorious production of Alan Jay Lerner and Federick Loewe's musical “Brigadoon,” I couldn't help but think how wonderful it was to hear a 24 piece orchestra play such classics as “Waitin' for My Dearie”, “Come to Me, Bend to Me”, “Almost Like Being in Love”, and the list goes on and on.</p><br /><p style="MARGIN-BOTTOM: 0in">In the dreamy town of Brigadoon, a mysterious village that appears for only one day every hundred years, though to it's inhabitants, the passing of time is no longer than one night. The only rule is that no one from Brigadoon may ever leave, otherwise the site and all its inhabitants will disappear into the mist forever. Lost in the Scottish Highlands are two American tourists Tommy Albright and Jeff Douglas who stumble upon the village just as a wedding is about to be celebrated, and their arrival leaves a lasting mark on the villagers.</p><br /><p style="MARGIN-BOTTOM: 0in">Evanston based Light Opera Works has assembled a top notch cast and crew for this show and the list of reasons to see to run out and see this show could end up looking like a grocery list for a family of ten.</p><br /><p style="MARGIN-BOTTOM: 0in">I have to say that at the top of the list is the orchestra led by Roger L. Bingaman, who is able and lucky enough to conduct such a large group, at least by what is usually the norm for most theater companies . It's always a pleasure to hear this particular score played so beautifully be all involved.</p><br /><p style="MARGIN-BOTTOM: 0in">That is not to short change this work on this production by Rudy Hogenmiller who directed and choreographed this production with a fluidity that keeps the show moving along but also makes makes for lasting impressions even after the show has ended.</p><br /><p style="MARGIN-BOTTOM: 0in">Also included high on the list is the cast that handles the score and dancing with grace and as easily as they are able to tackle some of the jaw dropping fight sequences that happen in the 2<sup>nd</sup> act. Robert Hunt sings the role of Tommy Albright with a stunning baritone that was able to stop both acts with “Almost Like Being in Love” and with “There But for You Go I.” His partner in crime leading lady Jennie Sophia who was wonderful in Circle Theatre's production of “Kiss Me Kate” employs her gorgeous voice on “Waitin' for My Dearie.” and the aforementioned love as easily as she handles both the Scottish dialect and her characterization of Fiona MacLaren. </p><br /><p style="MARGIN-BOTTOM: 0in">In the secondary leads both Clay Sanderson and Maggie Portman charmed and had the audience eating out of their hands. Ms. Portman who usually can be seen as a leading lady in such serious pop operas as “Evita” and “Chess” shows that she can float though comedy with as much assurance as she does on “The Love of My Life.” A special mention must also be made for Brandon Moorhead who floats though one of my favorite songs “Come to Me, Bend to Me” as smooth The rest of the large ensemble should all take a third bow for their work in this production.</p><br /><p style="MARGIN-BOTTOM: 0in">On stage the scenic design of Nick Mozak and the costume design of Ricky Lurie match the rest of this shows high standards of taste and excellence. It made me happy to be able to see the amount of hard work it must have taken to assemble these components on stage and they should both take their bows along with everyone else.</p><br /><p style="MARGIN-BOTTOM: 0in">This is a show that hasn't been revived on Broadway in quite some time and even though I do have some reservations about the overall book to the show, I feel that the villagers are too trusting of these strangers right away and I don't know if anything outside of this wonderful town quite works as it should Light Opera Works in every aspect holds up a exemplary list of reasons why this show should be done more often as long as those productions where held to the high standards of there production.<br /></p><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrPwjRcU51IDOd4cIufWeTIud1aDuzcFm3sWPIf69ZojF1GQtqJUcTZfZqxC6ShbcO59HepzmXNJMhQfPaZORrpHbck3X9KxZb1TfHACl7nazFYIIS-smgNm-8z1kKXo-XCg8iSvpmTg/s1600/83.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 266px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5614763984588420690" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrPwjRcU51IDOd4cIufWeTIud1aDuzcFm3sWPIf69ZojF1GQtqJUcTZfZqxC6ShbcO59HepzmXNJMhQfPaZORrpHbck3X9KxZb1TfHACl7nazFYIIS-smgNm-8z1kKXo-XCg8iSvpmTg/s400/83.jpg" /></a></div><br /><div></div><br /><div>Brigadoon runs at Light Opera Works plays from Sunday, June at 2p,, Wednesday June 8th at 2pm, Friday, June 10th at 8pm, Saturday June 11, at 8pm and Sunday, June 12th at 2pm. It's playing at the Cahn Auditorium at 600 Emerson Street in Evanston IL and tickets can be purchased by either calling (847) 869-6300 or at <a href="http://www.lightoperaworks.com/">www.LightOperaWorks.com</a>.</div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-69448994625079610552011-06-01T14:11:00.002-05:002011-06-01T15:28:33.508-05:00Light Opera Works presents Midwest New Musicals<div align="center"><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"><b><span style="font-size:100%;">Midwest New Musicals:<br />a musical theater writers workshop<br />and development program starts new<br />core sessions on Chicago's North Shore<br />for the 2011-12 season</span></b></span></span></span></div><br /><p style="MARGIN-BOTTOM: 0in"><br /></p><br /><p style="MARGIN-BOTTOM: 0in">In association with Light Opera Works in Evanston Midwest New Musicals is meeting on Chicago's North Shore for a<span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"><span style="FONT-WEIGHT: normal">n intensive program, where writers explore the use of music, lyrics and dialogue through hands-on assignments that introduce them to musical theater forms and collaborative technique, culminating in public performances of the Mini-Musicals Project.</span></span></span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"><span style="FONT-WEIGHT: normal">The workshop meets monthly in two, four-hour sessions and Saturdays and Sundays 10 am-2 pm, September 24, 2011, through June 24, 2012.</span></span></span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"><b>Information: </b></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"><a href="http://www.lightoperaworks.com/" target="_blank">www.LightOperaWorks.com</a> </span></span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;">or (847) 869-6300</span></span></span></p><br /><p style="MARGIN-BOTTOM: 0in"><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;">jsparks@light-opera-works.org or (323) 371-8205</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">Evanston, IL: Midwest New Musicals, a writers workshop and development program lead by John Sparks, begins on September 24, 2011 and continues through June 24, 2012.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">Midwest New Musicals is an ongoing forum where lyricists, composers and book writers create and discuss their work. Divided into three levels, workshop members meet 10 times per year for intensive weekend sessions led by Workshop Director John Sparks, and Associate Artist Larry Todd Johnson. Sessions will take place on Chicago's North Shore. In addition there are interactive online Labs for the individual disciplines of book writing, lyric writing and composing for musicals.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">The study and writing process leads to a Mini-Musicals Project where participants create short musicals for a pre-selected ensemble and production team. The project culminates in a formal public presentation.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">Fees for the Midwest New Musicals Core Curriculum are $645 per term, or $1,200 if enrolling for two terms in advance.The fall term is a pre-requisite for the winter/spring term. The winter/spring term includes the Mini-Musicals Project. One Lab is included in two-term fee.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">Additional Labs: $495 each.Application Fee (non-refundable):$25.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">The culminating exercise of first-year workshop writers is the Mini-Musicals Project. Participating authors create short musicals for a pre-selected ensemble and production team. The 2011 Mini-Musicals Project is </span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Spring Rains and Labor Pains</i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"> and is comprised of four pieces: </span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Life Has its Ups and Downs</i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"> by Gail Sonkin & Laura Toffenetti, </span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Real Life </i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">by Scott Free & John David Nelson, </span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Surrogates </i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">by David Charles Goyette, Mike O'Mara & Jean Vanier and </span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Another Life </i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">by J. Linn Allen & Leo Schwartz. The stage director is Allan Chambers, the music director is Jessica Hunt, and the performers areKelllie Cundiff, Kevin Grubb, Amy Malcom, Mark LeBeau and Amanda Marcheschi.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i><b>Spring Rains and Labor Pains</b></i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">, the 2011 Mini-Musical Project takes place on Sunday, July 17, 6:30 PM at the McGaw YMCA Children's Center Auditorium at 1420 Maple (at Lake) in Evanston Tickets for the general public are $10 at the door.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">Since 2009, Midwest New Musicals, has been a resident arm of Light Opera Works, Chicago's specialists in operetta and musical theater. With the Midwest New Musicals, Light Opera Works is able to expand its programming and service to the field by providing an outlet for writers and for new works of musical theater. </span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><b>Workshop Leader Biographies</b></span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><b>John Sparks (Workshop Director) </b></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">is the Artistic Director for the Academy for New Musical Theatre in Los Angeles where he has taught since 1981. In 1987 he founded the musical theater writers workshop at the former Theatre Building Chicago where he served as Artistic Director from 1999 to 2009. John is also currently a board member and guest instructor with Mercury Musical Developments in London. John has written many musicals that have been produced in Los Angeles, Chicago and on the east coast, including: </span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Babes In Barns</i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"> (music and lyrics)</span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><b>, </b></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Hans Brinker</i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"> (lyrics)</span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><b>, </b></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Cashel Byron</i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"> (book),</span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>The Arresting Dilemma of Mister K</i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"> (book), and </span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>On The Brink</i></span></span><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"> (book and lyrics). He has received awards such as the After Dark Award for Best Score and several commissions from Theatre Building Chicago and the Frederick Loewe Trust, awarded by the National Alliance for Musical Theatre. John studied with the late Lehman Engel, renowned musical director and founder of the BMI-Lehman Engel Musical Theatre Workshop and with Broadway and Hollywood director Michael Gordon.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><b>Larry Todd Johnson (Associate Artist)</b></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"> </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">is a book writer and lyricist originally from Southern California. With composer Cindy O'Connor, his musical </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>40 is the New 15 </i></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">received Stagescene LA's award for Best New Musical 2010, received a 2010 GLAAD Media Award Nomination for Outstanding Los Angeles Theatre, and was chosen by Stephen Schwartz to be part of the ASCAP/Disney Musical Theatre Workshop. Larry and Cindy won the Kennedy Center National Playwright's Award as well as the ACTF Musical Theater Award for their work on the musical-drama </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>All That He Was</i></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">. Other projects include </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Beautiful</i></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"> </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">(with Cindy O'Connor and Adrian Bewley) </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Now and Then a Hero</i></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"> </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">(with composer Jake Anthony) and </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>The Last Princess</i></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="font-size:85%;"> </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">(with composer Allen Hong.) For television, Larry has written animated series teleplays for </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Yin Yang Yo!, The Care Bears</i></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">, and </span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;"><i>Angela Anaconda</i></span></span></span><span style="color:#000000;"><span style="font-family:Verdana, Geneva;"><span style="font-size:85%;">, to name a few. He holds a BA in Theatre from UCLA and a Masters in Playwriting from CSUF.</span></span></span></p><br /><p align="left"><span style="color:#000000;"><span style="font-family:Verdana, Geneva, Arial, Helvetica, sans-serif;"><span style="FONT-SIZE: 8pt;font-size:78%;" ><span style="font-size:85%;"><b>Light Opera Works</b></span><span style="font-size:85%;"> is a resident professional not-for-profit theater in Evanston, founded in 1980. The company's mission is to produce and present musical theater from a variety of world traditions, to engage the community through educational and outreach programs, and to train artists in musical theater. All productions are presented in English, with foreign works done in carefully edited modern translations. Maximum scholarship is employed to preserve the original vocal and orchestral material as well as the spirit of the original text whenever possible. Audiences have come to know that at Light Opera Works they will experience repertoire often unavailable on the stages of commercial theaters and opera houses, in modern productions with professional artists and full orchestra.</span></span></span></span></p>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-36777736293458050792011-05-30T13:31:00.003-05:002011-05-30T13:41:17.173-05:00Down & Dirty Romeo & Juliet at Shattered Globe<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu2KxSuGbCueM7DjjAOdh-V1W2boRqG6rK67lZTuA1FT_nCe1L9C4Ti8gPUVzgraj6f3Sw5y9b53W86M8Z-ISwfqiY39f_ibIy84oIY4af4OMYG4yAwvmmasrC2kHxhhmdj588cifbl0c/s1600/whowillbeyourromeo.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 183px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5612580900742877282" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu2KxSuGbCueM7DjjAOdh-V1W2boRqG6rK67lZTuA1FT_nCe1L9C4Ti8gPUVzgraj6f3Sw5y9b53W86M8Z-ISwfqiY39f_ibIy84oIY4af4OMYG4yAwvmmasrC2kHxhhmdj588cifbl0c/s400/whowillbeyourromeo.jpg" /></a> <br /><div><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">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. </p><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">This production will next play July 17<sup>th</sup>, 24, and 31<sup>st</sup> at Millennium Park, 201 E. Randolph with the times and tickets to be determined.</p><br /><p style="MARGIN-BOTTOM: 0in">http://www.shatteredglobe.org/current_production.html </p><br /><br /><br /><p style="MARGIN-BOTTOM: 0in"><br /></p></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0tag:blogger.com,1999:blog-5952021749417305441.post-7045343746330360782011-05-22T04:19:00.003-05:002011-05-22T04:29:36.145-05:00Porgy and Bess at Court Theatre<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8oFhs04KplzWUu0xLxhUpj57jo3K5IwsEisv7DWXTkTsOzQVRH034d_65TNC31rKWDS-hHV-BNzfQPYkN778WSzokiALYTSTMtxiCz7BWhlPGBkPUrWrKCLC8-lPItIF3tTSYibN3fgI/s1600/Kryger+and+Rogers+-+V.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 266px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5609468585889069522" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8oFhs04KplzWUu0xLxhUpj57jo3K5IwsEisv7DWXTkTsOzQVRH034d_65TNC31rKWDS-hHV-BNzfQPYkN778WSzokiALYTSTMtxiCz7BWhlPGBkPUrWrKCLC8-lPItIF3tTSYibN3fgI/s400/Kryger+and+Rogers+-+V.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in">“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 George<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPjco4zWNp8KE4M1omScAvdpWRU4BjyRkwSxjseewkAGlWCrBkorrWsOe6D5ukSuLgYeaJOf0NddTsrj2GvcESfvKTPq1X9ECqmrGeyd0a-McGPdaCoFYr7VwItbieHY1e5bj7x52PO1s/s1600/Plumpp+and+cast+-+H.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5609468582744163314" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPjco4zWNp8KE4M1omScAvdpWRU4BjyRkwSxjseewkAGlWCrBkorrWsOe6D5ukSuLgYeaJOf0NddTsrj2GvcESfvKTPq1X9ECqmrGeyd0a-McGPdaCoFYr7VwItbieHY1e5bj7x52PO1s/s400/Plumpp+and+cast+-+H.jpg" /></a>The 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.</p><br /><div></div><br /><div>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.</div><br /><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFDDJKkM2lb3K0LjZI1xzLrMaqFUZRqM0jNKjvUAZFtThN7fdM8UhO22ongcmYe_ze4AdDRqskmZyAt2gfP9WtnrN5kP8qdv1AfHwWTMcXnZo0SYzcTsGgX0KFZTYEt7E1U3mxzZ7PPk/s1600/Porgy+and+Bess+cast+-+H.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5609468579259187202" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFDDJKkM2lb3K0LjZI1xzLrMaqFUZRqM0jNKjvUAZFtThN7fdM8UhO22ongcmYe_ze4AdDRqskmZyAt2gfP9WtnrN5kP8qdv1AfHwWTMcXnZo0SYzcTsGgX0KFZTYEt7E1U3mxzZ7PPk/s400/Porgy+and+Bess+cast+-+H.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT4FQRKMY4FoRv-ESrTKt74g0rBl5F4oXy35YVDkiyKhGfjP0ZX0bD102DsHPF_-QTLFqo3Z_Pfuw0l1KELWck578t9hnxYuFYMrYpN-TL197TnkPT7QmYr9YIat1CUs9qdESODpc6dAk/s1600/Rogers+and+Jones+-+V.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 266px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5609468568709434386" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT4FQRKMY4FoRv-ESrTKt74g0rBl5F4oXy35YVDkiyKhGfjP0ZX0bD102DsHPF_-QTLFqo3Z_Pfuw0l1KELWck578t9hnxYuFYMrYpN-TL197TnkPT7QmYr9YIat1CUs9qdESODpc6dAk/s400/Rogers+and+Jones+-+V.jpg" /></a> <br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><p style="MARGIN-BOTTOM: 0in">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.</p><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcSpvuw5NtMg6b-zgPkZk9IgsGRhMjvl7cPjHH7ExTR9JuJwAJOYp5s07-7O0NkgoRBdp6zhH1ZNKEX43f-4lerLOZLKSfeRjTM9upz_-q2Sov853IiRjMdNJ81szJfwOFZtmLyl3phh8/s1600/Rogers+and+Thomas+-+H.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5609468564201733314" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcSpvuw5NtMg6b-zgPkZk9IgsGRhMjvl7cPjHH7ExTR9JuJwAJOYp5s07-7O0NkgoRBdp6zhH1ZNKEX43f-4lerLOZLKSfeRjTM9upz_-q2Sov853IiRjMdNJ81szJfwOFZtmLyl3phh8/s400/Rogers+and+Thomas+-+H.jpg" /></a> </div></div></div></div>StevenDhttp://www.blogger.com/profile/16173904636155582117noreply@blogger.com0