A STAGE TO PERFORM ON

Legally Blonde at the Marriott Lincolnshire Theatre

2012-01-29T13:30:00.001-06:00

“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.

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.

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.

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.

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.

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.

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?

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 www.TicketMaster.com. Visit www.MarriottTheater.com for more information.

2012-01-14T07:43:00.000-06:00

MadKap Productions Presents

the Midwest Premiere of

at the Greenhouse Theater Center

from January 19 Through March 11, 2012

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 (The Muppets andSesame Street, 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.

The World Premiere of CLUTTER received rave reviews. The Los Angeles Times 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.”The Hollywood Reporter raved that “CLUTTER is charming [and] delightful… wise, generous and witty.”KABC 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.”

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.

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.

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” inThe Crucible 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.

The artistic team for CLUTTER is led by director Wayne Mell who has been Managing Director at Citadel since 2009, most recently directingSomething’s Afoot (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.

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.

Playwright Mark Saltzman, who began his career writing forThe Muppets with Jim Henson, is the winner of seven Emmy Awards for his work onSesame Street. He has also been nominated for the Writer’s Guild Award and five L.A. Ovation Awards, including Best Musical. Notable works includeA, My Name is Alice; The Tin Pan Alley Rag; Romeo and Bernadette; andMr. Shaw Goes to Hollywood. His work has been shown at Laguna Playhouse, The Ballroom, Soho Rep, 13^th 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, includingMrs. Santa Claus (starring Angela Lansbury), The Adventures of Milo and Otis,Three Ninjas Kick Back, and The Red Sneakers. 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.

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 Lost in the Stars, The Changing Room, Spofford, and Leonard Bernstein’s Mass. She has also produced many shows at Citadel Theatre Company in Lake Forest, includingSomething’s Afoot, directed by CLUTTER director Wayne Mell.

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 773.404.7336, or visitwww.greenhousetheater.org. 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 www.grouptheatertix.com.

"Mr. Rickey Calls a Meeting" at Lookingglass

2012-01-14T07:25:00.000-06:00

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.

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?

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).

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.

THE ADDAMS FAMILY at the Cadillac Palace Theatre

2011-12-28T18:33:00.000-06:00

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

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

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

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

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

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

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

La Cage Aux Folles at the Bank of America Theater

2011-12-23T12:13:00.000-06:00

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

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

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

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

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

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

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

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

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

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

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

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

website at www.broadwayinchicago.com

Marriott Theater: Irving Berlin's "White Christmas"

2011-10-27T05:54:00.003-05:00

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

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

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

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

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

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

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

For the Boys at the Marriott Theatre

2011-08-31T18:26:00.006-05:00

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

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

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

The Student Prince at LIGHT OPERA WORKS

2011-08-22T23:30:00.004-05:00

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

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

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

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

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

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

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

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

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

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

Kelly Clarkson review of leaked song's

2011-07-14T04:11:00.003-05:00

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

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

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

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

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

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

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

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

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

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

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

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

http://youtu.be/MwcFL39IM9s

“Shout! The Mod Musical” at Marriott

2011-07-14T01:22:00.002-05:00

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

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

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

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

THE HOMOSEXUALS at About Face Theatre

2011-06-20T19:10:00.003-05:00

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

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

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

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

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

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

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

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

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

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

The Homosexuals

2011-06-18T22:48:00.002-05:00

THE HOMOSEXUALS

BY PHILIP DAWKINS

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

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

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

Chicago the Musical with Broadway in Chicago

2011-06-08T10:18:00.003-05:00

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

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

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

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

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

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

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

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

The Cherry Orchard at Raven Theatre

2011-06-08T04:27:00.003-05:00

“Tragedy is Easy, Comedy is Hard”

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

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

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

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

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

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

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

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

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

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

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

Brigaddon at Light Opera Works

2011-06-05T10:46:00.002-05:00

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

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

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

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

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

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

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

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

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

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

Light Opera Works presents Midwest New Musicals

2011-06-01T14:11:00.002-05:00

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

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

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

Information: www.LightOperaWorks.com

or (847) 869-6300

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

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

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

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

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

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

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

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

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

Workshop Leader Biographies

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

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

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

Down & Dirty Romeo & Juliet at Shattered Globe

2011-05-30T13:31:00.003-05:00

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

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

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

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

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

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

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

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

Porgy and Bess at Court Theatre

2011-05-22T04:19:00.003-05:00

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

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

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

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

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

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

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

2011-05-21T01:30:00.003-05:00

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

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

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

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

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

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

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

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

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

SHATTERED GLOBE THEATRE PRESENTS ROMEO AND JULIET WITH A TWIST

2011-05-20T02:16:00.004-05:00

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

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

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

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

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

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

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

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

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

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

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

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

About Shattered Globe Theatre:

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

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

Summertime keeps going on in Chicago

2011-05-20T01:44:00.004-05:00

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

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

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

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

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

Visit the event's webpage for more information.

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

2011-05-20T01:36:00.002-05:00

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

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

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

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

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

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

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

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

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

Summer Nights

2011-05-20T01:30:00.001-05:00

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

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

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

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

Hollis Resnik has a busy season coming up...

2011-05-09T03:17:00.002-05:00

Isn't Hollis Resnik an acronym for always working?

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

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

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

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

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

Tickets

847-491-7282

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

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

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

Individual tickets have not gone on sale yet.

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

Merrily We Roll Along keeps rolling along till May 13th

2011-05-09T02:51:00.003-05:00

THE MUSIC THEATRE COMPANY EXTENDS

MERRILY WE ROLL ALONG

Through May 13^th

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

PERFORMANCE DATES

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

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

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

LIGHT OPERA WORKS presents BRIGADOON June 4-12, 2011

2011-05-09T02:37:00.006-05:00

LIGHT OPERA WORKS PRESENTS
BRIGADOON
June 4-12, 2011

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

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

Where

Cahn Auditorium
600 Emerson Street, Evanston, IL

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

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

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

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

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

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

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

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

Discounted season ticket packagaes are still available.

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

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

White Noise at Royal George Theatre

2011-05-09T01:24:00.004-05:00

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

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

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

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

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

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

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

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

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

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

Working at the Broadway Playhouse

2011-05-08T03:25:00.006-05:00

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

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

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

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

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

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

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

Spring Awakening at the Ford Center for the Performing Arts

2011-05-06T16:09:00.006-05:00

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

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

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

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

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

A Twist of Water at the Mercury Theater

2011-05-05T22:36:00.004-05:00

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

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

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

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

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

RECORDINGS REVIEW PART I

2011-05-01T05:24:00.004-05:00

Just released CAST RECORDINGS

Women on the Verge of a Nervous Breakdown

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

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

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

Priscilla Queen of the Desert (Rhino Records)

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

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

Sister Act The Musical Ghostlight Records)

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

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

And now for the SOLO RECORDINGS

Paul Motondo "This Time Around"

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

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

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

Alice Ripley “Daily Practice – Volume 1

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

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

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

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

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

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

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

The King and I at Porchlight Music Theatre Chicago

2011-04-30T23:40:00.003-05:00

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

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

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

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

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

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

Next to Normal at Bank of America Theater

2011-04-29T17:51:00.006-05:00

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

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

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

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

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

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

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

Pony & Woyzeck at About Face Theatre & The Hypocrites

2011-04-29T16:05:00.005-05:00

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

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

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

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

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

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

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

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

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

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

2011-04-27T13:16:00.003-05:00

Hollis Resnik is Margo Channing in “All About Eve”

All-Star Benefit Reading

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

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

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

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

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

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

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

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

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

American Idol Doing Duets and the music of Carol King Tonight

2011-04-27T12:56:00.002-05:00

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

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

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

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

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

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

2011-04-27T05:05:00.002-05:00

WINNER! 3 TONY AWARDS!

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

LA CAGE AUX FOLLES

STARRING

GEORGE HAMILTON

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

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

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

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

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

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

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

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

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

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

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

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

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

See what the critics had to say:

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

Chicago Star Rebecca Finnegan Joins Cast of WORKING‏

2011-04-27T04:34:00.003-05:00

REBECCA FINNEGAN JOINS THE CAST OF WORKING

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

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

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

Produced by Jed Bernstein, Dianne Fraser and Sheila Simon Geltzer, WORKING was adapted by Stephen Schwartz and Nina Faso. It is directed by Gordon Greenberg, with Scenic Design by Beowulf Boritt. Individual tickets for Working are $67.50 - $77.50. A select number of premium seats are also available. Tickets are available at all Broadway In Chicago Box Offices (24 W. Randolph St., 151 W. Randolph St., 18 W. Monroe St. and 175 E. Chestnut St.), the Broadway In Chicago Ticket Kiosk at Water Tower Place (845 N. Michigan Ave.), the Broadway In Chicago Ticket Line at (800) 775‐2000, all Ticketmaster retail locations (including Hot Tix and select Carson Pirie Scott, Coconuts and fye stores), and online at www.BroadwayInChicago.com. For groups of 15 or more, call (312) 977‐1710.

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

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

2011-04-27T04:10:00.005-05:00

Steppenwolf Theatre Company’s Critically-Acclaimed Production of

Edward Albee’s

Who’s Afraid of Virginia Woolf?

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

with Carrie Coon and Madison Dirks

To Open on Broadway Fall 2012

Exactly 50 Years to the Date of the Original Broadway Production

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

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

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

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

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

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

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

The Resurrection of Haley Reinhart

2011-04-26T06:50:00.002-05:00

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

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

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

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

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

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

“Fallin'” (Top 12 girls night)

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

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

“Blue” (Top 13)

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

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

“I'm Your Baby Tonight” (Top 12)

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

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

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

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

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

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

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

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

“Piece of My Heart” (Top 9 Performance)

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

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

“Call Me” (Top 8 Performance)

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

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

"Moanin” (Top 8 Results)

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

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

“Rolling in the Deep” (Top 7 Performance)

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

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

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

42nd Taps its magic to the Marriott Theatre

2011-04-25T00:57:00.002-05:00

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

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

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

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

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

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

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

Merrily We Roll Along at The Music Theatre Company's

2011-04-10T23:13:00.007-05:00

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

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

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

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

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

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

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

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

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

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

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

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

The Hot L Baltimore

2011-04-07T02:29:00.003-05:00

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

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

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

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

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

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

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

Broadway in Chicago annouces there 2011-2012 Season

2011-04-07T01:36:00.007-05:00

BROADWAY IN CHICAGO IS PROUD TO ANNOUNCE THE 2011-2012

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

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

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

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

WEST SIDE STORY

July 19, 2011 – Aug. 14, 2011

Cadillac Palace Theatre

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

LOVE, LOSS, AND WHAT I WORE

Sep. 13 – Oct. 23, 2011

Broadway Playhouse at Water Tower Place

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

ANN: AN AFFECTIONATE PORTRAIT OF ANN RICHARDS

Nov. 13, 2011 – Dec. 4, 2011

Bank of America Theatre

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

MEMPHIS

Nov. 22, 2011 – Dec. 4, 2011

Cadillac Palace Theatre

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

DONNY & MARIE: CHRISTMAS IN CHICAGO

Dec. 6, 2011 – Dec. 24, 2011

Oriental Theatre

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

LA CAGE AUX FOLLES

Dec. 20, 2011 – Jan. 1, 2012

Bank of America Theatre

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

COME FLY AWAY

Jan. 10, 2012- Jan. 22, 2012

Bank of America Theatre

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

OFF-SERIES SUBSCRIPTION SHOWS

CHICAGO

June 7, 2011 – June 12, 2011

Oriental Theatre

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

MARY POPPINS

Oct. 13, 2011 - Nov. 6, 2011

Cadillac Palace Theatre

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

ROCK OF AGES

Nov. 8, 2011 - Nov. 13, 2011

Oriental Theatre

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

FIDDLER ON THE ROOF

Nov. 22, 2011 - Nov. 27, 2011

Auditorium Theatre of Roosevelt University

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

THE ADDAMS FAMILY

Dec. 13, 2011 – Jan. 1, 2012

Cadillac Palace Theatre

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

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

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

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

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

Aida......Every Story is on stage at the Drury Lane

2011-04-06T15:10:00.009-05:00

As the song says “Every Story is a Love Story” and in “Aida” every story that should and shouldn’t be told is laid out on stage for two hours and we are treated to each of them. We’ve got the spoiled princess that gains strength and confidence without sacrificing fashion sense story, the doomed lovers that relate to slavery story, the buffed guards from a soft core porn story, and that’s just for starters.

Don’t get me wrong when “Aida” works it can be a moving show in your standard Disney Mode coupled with some attractive memorable melodies. In fact I’d argue its Elton John’s best score composed for the theater and contains electric rhythms and melodies that can hit their musical targets powerfully along with also easily missing them when they should have a stronger impact. This is a show where the score lands strong yet the book is muddled and needs complete devotion from its cast to work.

In two previous productions I saw of this show both the pre-Broadway production and a Bailiwick the cast played this show as their life depended on it which it probably did. Unfortunately this does not happen from the Drury Lane Oakbrook cast which left this production as an outline for what the show should and could be.

The show starts out eschewing the clever design of having the modern day version of the lovers meet up at a museum in front of a stature of the Egyptian Princess Amneris who proceeds to come to life to belt though the opening. Instead the lovers meet up in front of a rather boring ancient triangle of glass, where as then Amneris comes out as your typical Vegas entertainer at a moderately priced hotel to sing her first song. As Amneris Erin Mosher has legs for days and resembles looks wise Celion Dion but that's about where it ends as she carries herself off as a runner up to Miss America and unfortunately also acts and sings like a runner up to Miss America. She lacks the star quality in both the acting and voice that the role requires and is hard to believe in her second act transformation from spoiled Princess to future ruler of a country.

As the lovers and what completes the other half of the shows stunning love triangle are Jared Zirilli who has both abs and hair for days but also posseses a voice that’s above decent and a manner about him that doesn’t come across as heroic or anything else but chorus boy thrown into the leading role for a performance. In the title role of Aida Stephanie Umoh brings gorgeous looks, an attractive and pleasant voice that sadly neither in acting or voice contain the strength or distinction that the role requires of. She also lacks the inner strength that motivates this conflicted woman to live at no matter what cost and plays the role with no fire or strength.

In the featured supporting roles of friend and confident Mereb and as Radames evil father both James Earl Jones III and Darren Matthias get by in both the acting and singing departments but do little to leave a lasting impression or score on a particular emotional side.

The costumes and set for this production are simple and effective with a touch of Vegas thrown in, "I'm looking at you Amneris". In the dual role of Director and Choregrapher Jim Corti adds some beautiful movement to the piece but over all the choreography seems to have more traits from an MTV music video then in other productions and I thought the directing was thrown to the side and not interesting enough with some moments being over the top. This was the first time I noticed the guards raping the prisoners at the beginning of the piece and as realistic as that was it does take you out of the moment of the show. His other problem seems to be that he has taken the male ensemble of priests and re-imagined them as something out of the film version of “Gentlemen Prefer Blondes.” The music direction is superb and some of the choral work outstanding however the show also misses its mark in one of the shows best numbers “The Gods Love Nubia,” with the chorus being tacked on just for additional voices but losing a lot in both emotional and vocal power.

After seeing so many wonderful productions at Drury Lane I think this was just simply a case of being a misfire and look forward to their next show as this one seems to have already been forgotten.

Door Slams, In comes COMPANY!!!!!!!

2011-03-21T23:02:00.008-05:00

Further casting has been announced for the New York Philharmonic's exciting upcoming production of Stephen Sondheim's-George Furth's musical “Company.” In addition to the previous mentioned Emmy Winner Neil Patrick Harris will play Bobby and sing the shows anthem “Being Alive.” and Emmy Nominee, 2 time Tony Award Olivier Award and Grammy Award winning, Broadway star Patti LuPone will play the role of Johanne and get to belt out “The Ladies Who Lunch” and “It's the Little Things You Do Together.” The rest of the ALL Star Cast include 5 Time Emmy Award winning Stephen Colbert as Harry, Emmy & Tony Nominee Martha Plimpton as Sarah, Emmy Award winning John Cryer as David, Tony Winner Anika Noni Rose as Marta, Jim Walton as Larry, 2 time Tony Award Winner Katie Finneran as Amy, Tony Nominee Craig Bierko as Peter, Emmy Award Nominee Christina Hendricks as Aprils, Aaron Lazar as Paul, Jill Paice as Susan , Jennifer Laura Thomas as Jenny, and Chryssie Whitehead as Kathy.

Lonny Price will direct and produce Company, which will be presented April 7-9. Paul Gemignani will conduct the famed orchestra; the concerts will feature the original orchestrations penned by Jonathan Tunick.

Set in New York, Company, according to press notes, follows "five married, once-married, and soon-to-be-married couples and their mutual friend, Robert (Mr. Harris), a bachelor who has been unable to connect in a long-term relationship. The relationships are presented in a series of vignettes, primarily through Robert’s eyes." The show’s songs include “Company,” “Side by Side by Side,” “The Ladies Who Lunch,” “Another Hundred People” and “Being Alive.”

The original production of Company opened on Broadway at the Alvin (now the Neil Simon) Theatre on April 26, 1970. The musical garnered 14 Tony Award nominations (the record until The Producers in 2001), winning six, including Best Musical.

The recent Broadway revival, which starred the Tony-nominated Raul Esparza as the confused bachelor, ended its run at the Ethel Barrymore Theatre July 1, 2007. Company played 34 previews and 247 performances. The revival began previews Oct. 29, 2006, and opened on Nov. 29 at the Barrymore on W. 47th Street. It began at Cincinnati Playhouse in the Park in spring 2006, and commercial producers of Broadway's 2005-06 Sweeney Todd swooped in. This Company won the Tony, Drama Desk, Outer Critics Circle and Drama League Awards for Best Revival of a Musical.

Single tickets for these performances start at $65. All tickets may be purchased online at nyphil.org or by calling (212) 875-5656. Tickets may also be purchased at the Avery Fisher Hall Box Office or the Alice Tully Hall Box Office at Lincoln Center, Broadway at 65th Street.

There's a rumor this is going to be video taped for broadcast on PBS and with a cast like this it wouldn't surprise if they end of doing it. If I'm not being too gready I'd love an audio CD just for LuPone's music alone. I think it's going to be a brilliant production and if this goes well maybe have them look into getting Price and LuPone to record all of Sondheim's shows for special PBS productions. I know it's just a dream but I'd love a video production of the recent revival of “A Little Night Music” where Bernadette Peters could reprise her Desiree and LuPone could come in and film the role of Countess Charlotte Malcolm for Lonny Price and everyone win's. How about a video production of “Anyone Can Whistle” with LuPone as Coora and Audra coming back from Hollywood to play Fay though my dream has always been Sherie Renee Scott in the role.

I think a dream of mine if Lonny Price directing PBS production or direct to DVD of Sondheims woman and having some of the most famous ladies from the Sondheim cannon: LuPone, Peters, Cook, Murphy, McDonald, and then some new faces Sherie Rene Scott, Idina Menzel, Carolee Carmello all doing famous female numbers from his shows.

If he ever reads this I'd love for him to put together a one woman show for both PBS and an audio CD where LuPone can sing 22 or more songs from the Sondheim cannon as the characters exploring the complexities between acting one of his songs and singing his songs. (heck I'd give money....I think it would work)

StevenD

Updates from Everywhere

2011-03-21T01:42:00.005-05:00

This weeks Entertainment News or at least in my world and others world the only news that really matters.

Glee had there highly anticipated episode this week “Regionals” where New Directions competed the regionals title against The Warblers and Aural Intensity. This was the first time that “Glee” used original music in the show where Santana sang a jazzy treat called “Trouty Mouth” to Sam that Naya Riveras delivered like a jazz diva while tossing off comedic insults in regards to her boyfriends mouth. Mark Sallings character Puck serenaded his love Lauren with the rockabilly “Big Ass Heart” which I still haven't gotten and Amber Riley went all diva with her take on “Hell to the No.” They all lost the chance to perform of course to Lea Michelle's Rachel who delivered the inspirational ballad “Get it Right,” which in the contact of the show worked the emotional level it needed to along with the summer anthem “Loser Like Me.” The comical songs were funny “Loser Like Me” worked as an anthem kids be running around singing but I thought “Get it Right actually” was a good song and if still that with the Warblers cover of Pink's “Raise Your Glass” they were two best performances of the episode. I was happy in this episode they were finally able to tighten up the story lines that had seemed like they were out of control. I thought the two most perfect scene in this one and should be submitted for Emmy Consideration were the kiss which was handled with so much truth, honesty and beauty how could you not cry over Blaine's line “Kurt, there’s a moment when you say to yourself, ‘Oh, there you are. I’ve been looking for you forever.’” Which is something anyone would love to hear. I also loved the scene between Quinn and Rachel because I felt it was honest. I like Queen, she knows she's superficial but like any complicated character she's fascinating and more more interesting then say Finn who just screams co-dependent.

On American Idol this week blah singer Karen Rodriguez was sent home after looking like a fem bot on Tuesday show and delivering lethargic take on Taylor Daynes “Love Will Lead You Back” which was slightly better then her song from last week. I found her groveling after before the verdict announced tacky and felt with the slight exception of Casey Abrahms weird over the top and what boiled down to a bunch of scream's with bad lighting and then he finishes the song and smiles to the camera!!!!! I also loved how he went on about this is a song for a generation which is true it's just not HIS generation.

My favorites of the night were again Haley Reinhart who's bluesy rock voice was a strong contract to “I'm Your BabyTonight, Lauren Alaina who was ble to find new ways to play around with the melody and deliver a strong belted “I'm the Only One” and Pia Toscano who used her trademark power and gorgeous tone to a “decent” song “Where Do Broken Hearts Go” with a great arrangement. I'm hoping next week we finally ose when of the many men who just need to go home.

Kelly Clarkson was one of the headliners at the Celebrity Fight Night Gala in honor of Muhammad Ali. The current batch of Idol hopefuls were there along with Reba to cheer on Kelly who sang “My Life Would Suck without You”, and an original song she has recorded from her new album written by Eric Hutcninson called “Why Don't You” and there's video that I'm including here hope you like it. In other Kelly news her smash duet with Jason Aldean “Don't you Wanna Stay” is still sitting at #1 on the Country Billboard awards. Which is an amazing feat for Kelly as she is the only Idol contestant to have the most #1 on various charts all over billboard. Here's hoping to some Grammy love for this duet.

Jennifer Hudson “I Remember Me” - I've recently heard the new solo disc and will review it for an upcoming album but I will say this. Jennifer and her vocals are finally getting more and more confident and she's unleashing that power and music is for the better because of it.

Jennifer will be making her Ravinia Festival debut Saturday July 16^th so get your tickets fast. Also of interest at Ravinia this Summer Broadway's Laura Benanti in Bennett-Godon Hall on August 27^th and “An Evening with Mandy Patinkin and Nathan Gunn on August 31 at the Pavillion. I think its odd that they couldn't get LuPone as she's the one who usually tours with Patinkin and performs at Ravinia quite a bit.

In Chicago theater scene Loyola University Theatre Program is opening their production of Stephen Schwartz's classic “Pippin” April 8 though the 17; Thursday – Saturday performances 7:30PM & Sunday 2:00PM at the Kathleen Mullady Theatre located at 115 West Loyola Avenue

A link to their blog is listed below

http://blogs.luc.edu/artsalive/

I have always loved the music to “Pippin” and saw a television production so I'm looking forward to seeing it live.

Thursday I will be attending Drury Lane Oakbrook's production of the Tony Award winning “Aida” and on Friday I'm attending the Chicago premiere of Dixie's Tupperware Party! At the Royal George so those should be blasts

I saw that the Tony Award winning Best Musicals “Spring Awakening” (also known as the show that skyrocketed the careers of Jonathan Groff & Lea Michele) will be returning to Chicago this time at the Oriental Theatre May 3 though the 8^th.

The wonderful Rogers Park storefront theatre company announced their 2011-2012 season and they've given us some delicious treats that aren't often seen around here. The shows for next season are the 1976 Matby & Shire revue “Starting Here, Starting Now” playing in the fall from September 25-November 6. After that the “Pump Boys and Dinettes will be serving you from November 27 though January 1, 2012 (that sounds like a great way to ring in the new year) after that they being ambitious and taking on Adam Guettel's chamber Opera “Light in the Piazza” and then finishing up the season with a Neil Sedaka revue called “Breaking Up Is Hard to Do” sure to include such classics as “The Diary,” “Where the Boys Are,” “Stupid Cupid,” Solitare,” “Love Will Keep Us Together,' “Happy Birthday Sweet Sixteen” along with the title song. If you visit there web site at http://www.theoubique.org/ you can find out additional information.

On Broadway the semi new musical “PRISCILLA, QUEEN OF THE DESERT” opens tonight and I will include some of the reviews in the next column and starting previews is “Wonderland” Jekyll & Hyde's composer Frank Wildhorn the man who believes you can make a musical out of anything, and has tried you should hear the music to his demo to BladeRunner? “Wonderland” reinvents “Alice in Wonderland” for the 21^st Century with Alice being a modern-day Manhattan Mom so this should be interesting. The thing that makes me nervous is that Wildhorn has yet to have a hit show on Broadway “The Civil War,” “Jekyll & Hyde,” “Dracula,” “The Scarlet Pimpernel,” all were flops and “Havana,” Bonnie & Clyde,” and “Gold” were not able to make it to Broadway but I've heard the music to Wonderland and some of it's catchy and Wildhorn is smart enough to write accessible melodys so there's always hope.

Well that's it for now will talk to you guys later,

Smash International Hit "LOVE, LOSS AND WHAT I WORE" is kicking off it's tour in Chicago at the Broadway Playhouse at Water Tower Place

2011-03-16T23:32:00.010-05:00

THE INTERNATIONAL HIT IS COMING TO CHICAGO!

Playing at The Broadway Playhouse at Water Tower Place

Beginning September 13, 2011

CHICAGO (March 15, 2011) – Broadway In Chicago is thrilled to announce that the smash international hit of LOVE, LOSS AND WHAT I WORE is kicking off its tour in Chicago at the Broadway Playhouse at Water Tower Place (175 E. Chestnut, Chicago) for six weeks, September 13 - October 23, 2011.

LOVE, LOSS AND WHAT I WORE, with its starry cast and wildly entertaining subject matter, is the toast of New York. This intimate collection of stories by Nora Ephron and Delia Ephron and directed by Karen Carpenter, opened in October, 2009 at New York’s Westside Theatre to rave reviews and has been extended again and again by popular demand. Produced by Daryl Roth, this collection of vignettes and monologues is based on the best-seller by Ilene Beckerman, as well as on the recollections of the Ephrons’ friends. Like the popular book, Love, Loss, And What I Wore uses clothing and accessories and the memories they trigger to tell funny and often poignant stories that all women can relate to.

Producer Daryl Roth says, “We are delighted to launch the national tour of LOVE, LOSS AND WHAT I WORE at the beautiful Broadway Playhouse at Water Tower Place. I look forward to sharing these funny, poignant and heart-warming stories with Chicago area audiences.”

The Associated Press calls LOVE, LOSS AND WHAT I WORE, “Funny and Poignant!” The New York Times says, “A show about matters of the heart and matters of the closet!” Forbes calls the show, “An act of brilliance! A must see!” Bloomberg Radio exclaims, “Nora and Delia Ephron are literary alchemists, expert at mixing the sentimental and the satirical and turning out something poignant!” Syndicated columnist Liz Smith says, “Sweet and Saucy! This is an evening that goes directly to the heart, soul and vanity of every woman, young and old!”

The performance schedule for LOVE, LOSS AND WHAT I WORE is as follows:

Tuesdays at 7:30 p.m.

Wednesdays at 2 p.m. and 7:30 p.m. (No matinee on Sep. 28 and Oct. 12)

Thursdays at 7:30 p.m.

Fridays at 7:30 p.m.

Saturdays at 2 p.m. and 8 p.m.

Sundays at 2 p.m. (There will be a 6 p.m. performance on Sep. 18, 7:30 performances on Oct. 2 and Oct. 16)Please note: Ticket prices and performance schedule are subject to change.

Individual tickets range from $68-$78. A select number of premium seats are also available for each performance. Tickets are available now for groups of 15 or more by calling Broadway In Chicago Group Sales at (312) 977-1710. LOVE, LOSS AND WHAT I WORE will be a part of the 2011 Season Subscription Series. Individual tickets will go on sale at a later date.

For more information, visit www.BroadwayInChicago.com.

Working Extended by Popular Demand

2011-03-16T23:11:00.007-05:00

WORKING GOES INTO OVERTIME

WORKING AT BROADWAY PLAYHOUSE

EXTENDED BY POPULAR DEMAND

THROUGH JUNE 5, 2011

WORKING Launches Union Member Discount

CHICAGO (March 16, 2011) – Having received unanimous rave reviews and nightly accolades from delighted audiences, Broadway In Chicago and the producers of WORKING are thrilled to announce a four-week extension through June 5, 2011 at the Broadway Playhouse at Water Tower Place (175 E. Chestnut St., Chicago).

The Chicago Tribune’s Chris Jones calls WORKING, “REMARKABLE! Moving and fresh! Knock out young performers! A rich and accomplished ensemble paying homage to Chicago workers.” Chicago Sun-Times’ Hedy Weiss raves, “Highly recommended! Superb! Ingenious! Winningly re-imagined!” Comcast Network host Paul Lisnek exclaims, “WORKING will make you proud to be a Chicagoan; the show has heart, warmth and depth!”

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

WORKING, a show that asks workers what they do and how they feel about what they do, has developed a new program in honor of the union employees. WORKING is pleased to offer 20% off tickets to all union members for Tuesday, Wednesday and Thursday evening performances through June 5,2011. When ordering at the box office, patrons must present their union card and for those ordering online, patrons must present their union card at the theater but can use code UNION when ordering online or over the phone.

Produced by Jed Bernstein, Dianne Fraser and Sheila Simon Geltzer, WORKING is directed by Gordon Greenberg, with Scenic Design by Beowulf Boritt.
The WORKING performance schedule is as follows:

Tuesdays at 7:30 p.m.

Wednesdays at 2 p.m. and 7:30 p.m.

Thursdays at 7:30 p.m.

Fridays at 8 p.m.

Saturdays at 2 p.m. and 8 p.m.

Sundays at 2 p.m.

Performance schedule is subject to change.

Individual tickets for WORKING are $67.50 - $77.50. A select number of premium seats are also available. Tickets are available at all Broadway In Chicago Box Offices (24 W. Randolph St., 151 W. Randolph St., 18 W. Monroe St. and 175 E. Chestnut St.), the Broadway In Chicago Ticket Kiosk at Water Tower Place (845 N. Michigan Ave.), the Broadway In Chicago Ticket Line at (800) 775‐2000, all Ticketmaster retail locations (including Hot Tix and select Carson Pirie Scott, Coconuts and fye stores), and online at www.BroadwayInChicago.com. For groups of 15 or more, call (312) 977‐1710.

Return to the Blog!!!!

2011-03-13T20:39:00.008-05:00

Sorry I really haven't been around in a while, to say that I've had a lot on my plate is a HUGE understatement. However I am back and ready to post a lot more then I have, “which if I give two posts a week I've already accomplished my goal”; but it's about aiming higher then just that!

I wanted to take this column and comment on a few things I've missed and apologize for being late with this information. Here we go with some thoughts and news.

Glee (Episode Sexy)

In this weeks episode super popular character Holly Holiday, everytime I hear that name I can't get out of my head “Holly Holiday, are you a porn star or a drag queen!” Holly played with super smart Goop Gwyneth Paltrow. I call her super smart because in this past year it feels like she was able to turn her image from California Ice Goddess to one of my friends. This week she became a friend I'd call back after a few weeks. In “Sexy” it felt like she was brought back as stunt casting as opposed to just coming on the show and being charming, sweet, and sexy. Which were three things she was in the previous episode. I found her “Do You (Want to Touch Me)” a little weird with the entire playing with the students. Her and Matthew Morrison's duet of “Kiss” was good but the use of the tango made me think “Rent” and “Evita.” I did love her and Naya Rivers cover on the Dixie Chicks version of “Landslide.” Yes, I know it's Stevie Nicks however the arrangement of the song sounded identical to the Chick's Blue Grass feel of it, regardless it's still my personal favorite song. I also quite enjoyed Emma and the celibacy club cover of “Afternoon Delight.” To be honest I had never heard the song before but after listening to the Six Flags take of the song besides “Landslide” it's a song I can' t get out of my head. It's infectious without needing penicillin or a free clinic.

American Idol

This past week on Idol felt like it went on longer then my life. When they got to the Thirteenth constant, sorry number 36^th only due because the 13^th number in that order brings you to a porn line. Which probably would have been more entertaining then Wednesdays show. Seriously, these kids need to step out of their comfort zones and pick songs that are both popular and they can make fresh. Not songs that are either unknown or so over done we're going to compare them to others. I found the best of the night being Pia Toscano sounding lovely with a belt I like, though looking a little “Jersey Shore,” Naima Adedapo who vocally wasn't anything to right home came across contemporary, which is more then can be said for a lot of others. I also liked Haley Reinhart, Scott McCreey, and Lauren Alaina. I'm kind of hoping that Seth Rogen, Casey Abrahms and Thia Megia leave sooner then later.

Kelly Clarkson

As anyone who knows me or has read this blog knows that I'm a Huge Kelly Clarkson fan. She has an expressive voice with an amazing belt to it and I love someone who's not afraid to unleash their belt. Well, our little Kelly has finally finished recording her 5^th studio album and I recently found out two of the first singles that are being planned are called “The War is Over (You Don't Deserve Me)” and “Dumb + Dumb = You.” Not sure about the last title but this is the girl who was able to sell a song titled “My Life Would Suck Without You” so she could make it work. Kelly has written and recorded various songs for this album with the titles “Break the Silence,” “The Sun will Rise,” and “You Love Me” and recorded with well know producers and writers Howard Benson, Toby Gad, Wayne Hector, Eric Hutchinson, Rodney Jenkins, and Kyle Jacobs. I've heard one of the songs from the disc “You Still Won't know What it's Like,” which she performed at a benefit and I posted that earlier and loved the vocal and emotion she brought to it so I can't wait to find out the release date for this.

On the Theater news:

Hollis Resnik

One of Chicago's leading ladies recently received two Helen Hayes Award Nominations for her work in Washington D.C. productions' of “A Light in the Piazza” and “Candide”. I recently received word from a friend that starting March 18 and running through April 10 Hollis will be playing Fraulein Schneider in a production of Cabaret at Kansas City Repertory. Hollis won a Joseph Jefferson Award for a production of “And the World Goes Round” at the old Appletree Theater so she has experience performing Kander & Ebb's music and has delivered a strong German accent in the past.

Susan Moniz

Another of Chicago's favorite Divas Susan Moniz is currently tackling a powerfully dramatic role in Provision Theater's production of William Nicholson's Tony Award winning “Shadowlands” in the role of Joy. I've heard from friends who have seen this and say she is simply breathtaking which since I've followed her career all the way from Romance Romance at the Appletree Theater doesn't surprise me. The Show is playing till March 20^th so you still have some time and tickets atr $25-28, $10 industry and plays Fridays & Saturdays at 8 and Sundays at 3pm. Information can be found at 312-455-0065 or by going to the theater's website at www.provisiontheater.org, I'm not sure if I'm going to get a chance to see this but I'm sure hoping as this is one of my favorite plays and Ms. Moniz has been nothing but a dream performer.

Which got me to thinking I really miss the 2nd City Divas CD's that came out in the 90's and a few if the solo CD's the great ladies of Chicago have put out. I still treasure Hollis Resnik, and Kathy Taylors CD's and have looked for Cory Goodrich and Roberta Duchak's solo CD's. I wish that the Chicago Arts scene would start investing some money in recording solo CD's for some of these performers both male but at least for me the females. I and I know others who would be first in line for a Hollis Resnik's "My Favorite Roles," or Susan Moniz sings "The Songs that Made Me. I've thought even if they could record a few songs and put them on their sites for people to purchase at a $1.29 then that save cost in CD booklets and others. Heck if they need someone to do their cover art I'd be glad to give it a hand. If Broadway Actress Donna Lynn Champlin can put out a professional CD that she blogged about costing $1000 dollars and she recorded in her bathroom it doesn't seem like there are a lot of excuses anymore.

Sutton Foster

Currently in previews for the Broadway revival of “Anything Goes” she releases another solo CD this Tuesday on the sh-k-boom label. “An Evening with Sutton Foster Live at the Cafe Carlyle” features the newish diva belting to her heat's and our cores featuring such diverse tracks as “I'm Beginning to See the Light,” “Up on the Roof,” “Down with Love,” “Defying Gravity,” and a can't wait to be heard version of “And I'm Telling You I'm Not Going”.

Speaking of Sh-k-Boom/Ghostlight label is also releasing in the coming months a solo album from “The 25^th Annual Putnam County Spelling Bee's Lisa Howard titled “Songs of Innocence & Experience” and based on the musical of William Finn. They're also releasing the Original Broadway Cast Recordings for “Catch Me If You Can” and “Women on the Verge of a Nervous Breakdown” along with the Original London Cast of “Sister Act.”

Kathy Griffin

Soon to be opening her one woman show on Broadway "Kathy Griffin Wants a Tony" I found online her stage bio which has to be one of the funniest things I have ever read. I'm printing it below for you to laugh out loud. Ms. Griffin has said that she would love to host the Tonys and even though I can already hear the the jokes about Gays and who she plans on pissing off I think they would be crazy not to get her.

"Kathy Griffin is thrilled to be performing at the storied and absolutely haunted Belasco Theatre, where she has already told legendary stage impresario David Belasco's ghost, in no uncertain terms, to "Suck it." Ms. Griffin is especially excited to be reprising the role of Kathy Griffin after spending four years as Kathie Lee Gifford in a touring company of Ms. Gifford’s one-woman musical jamboree, Jesus Is My Homeboy. Born in Madagascar, raised in Rangoon (that’s for you, Streisand-obsessed gays), Ms. Griffin made her stage debut at the age of nine in a Griffin family kitchen production of Boys in the Band, where Ms. Griffin played seven gay men simultaneously. Can you say foreshadowing? Broadway: Speed-the-Plow (with Jeremy Piven, Sushi Taster no. 4); Macbeth (Macbeth's wisecracking red-headed sidekick); Les Misérables (Jean Valjean's funny flame-haired henchwoman); The Iceman Cometh (Iceman's sharp-tongued best friend); Neil LaBute's I Hate You But I Won't Say It Till It Can Do the Most Damage (Dead Whore); Cats (Fierce-y Tattletail MacHairBall); Sweeney Todd (Pie Eater No. 3); Chicago (Mrs. Cellophane); Your Arms Too Short to Box With God: A Soaring Celebration in Song and Dance (God's Fight Promoter); Spider-Man Turn Off the Dark (Head Stuntwoman, fired). Off-Broadway: Mark Twain Tonight! (Understudy); Stamp (the sister production to Stomp, but about stamp collecting); How Do I Get to Broadway? Off-Off-Broadway: Live! Live! Girls! Girls! Sex! Sex! (still running). Television: the double-Emmy-winning "Kathy Griffin: My Life on the D-List" (series regular); "Law & Order: SVU" (no, really, this isn't a Playbill joke, I'm like a real New York actor!); "Suddenly Susan" (not Brooke Shields); "Seinfeld" (not Julia Louis-Dreyfus); "Curb Your Enthusiasm" (not Larry David); "Glee" (another Emmy please); CNN "New Year's Eve With Anderson Cooper and Kathy Griffin" (Gloria Vanderbilt's best friend); more stand-up comedy specials than any other comedian EVER, including four in 2011 alone; "ER"; "The X-Files"; "The Simpsons"; "Ugly Betty"; "American Dad." Ms. Griffin has also hosted countless awards shows. Look, just type "comedy legend" into your search engine and her picture will come up, probably sixth or seventh. Talk show bannings: "Oprah," "The View," "Live with Regis & Kelly," "Ellen," "Maury Povich Baby Daddy Specials," "The 700 Club," "NewsHour with Jim Lehrer." Celebrity Feuds: Oprah, Ryan Seacrest, Bill O'Reilly, any and all Palins and Angela Lansbury (she knows what she did). Film: Pulp Fiction; Four Rooms; It's Pat; Gandhi (Gandhi's wacky girlfriend); Saving Private Ryan; Cold Mountain; Crouching Tiger, Hidden Dragon; Can’t Stop the Music; Can’t Stop the Music 2: Turn It Up; Can't Stop the Music 3: Okay, Now That's Just Too Loud; The Remains of the Day; Tyler Perry's Diary of a Mad White Woman; Black Swan; The King’s Speech; The Social Network. Awards: Ms. Griffin has received two Emmy awards, having been nominated seven times. She has also received three Grammy nominations, the GLAAD Vanguard Award, the Trevor Project’s Lifetime Honoree Award, the Human Rights Campaign's Ally for Equality Award, a 2007 GAYVN Award (aka gay porn), the key to Louisville and the 2011 Tony Award (fingers crossed!). Ms. Griffin is also the author of the #1 New York Times bestseller Official Book Club Selection: "A Memoir According to Kathy Griffin." She lives in Los Angeles, but loves New York, and would like to thank her dogs PomPom Griffin and Larry Griffin-Arquette, as well as her loving fiancee Kelsey Grammar. However, Ms. Griffin's most cherished production is that of her four children: Apple, Moses, Willow and Jaden. Without their strength and love and support, she would not be able to continue to tell dick jokes for the best audience in the world (that's you, people!). She would also like to thank God, and remind everyone how closely she follows Biblical scripture: "Behold I will corrupt your seed, and spread dung upon your faces." (Malachi 2:3)

Spider-Man Turn Off the Dark

The show that seems to have everything going for it has just annouced their third delay, cost over 65 million dollars, pissed off the critics with their date changes that they ended up buying tickets to the show anyway and reviewed it. The Director and Writer Julie Taymor is a lot more talented then this crud has been let go and Bono and The Edge will finally do some work on the score which I've heard is boring and flat. They also got rid of the number where the Queen Spiders and her chorus of little Spiders stop at Macey's to buy Shoes. I'm not kidding.

Well that's all the news for now.

Marriott presents 42nd Street

2011-03-05T20:46:00.003-06:00

Terry James, Executive Producer

Andy Hite, Lead Artistic Director

Aaron Thielen, Artistic Director

Presents

Come and Meet Those Dancing Feet!

Lincolnshire, IL - The song and tap extravaganza 42^nd STREET previews March 30^th, opens April 10^th and runs through May 29^th at the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL. The Broadway production of 42^nd STREET won the Tony Award for Best Musical and Choreography in 1980, and Best Revival in 2001. The Marriott Theatre’s production will feature Direction and Musical Staging by 2010 Jeff Award winner Rachel Rockwell, Choreography by 2010 Jeff Award winner Tammy Mader, with Musical Direction by multi-Jeff Award winner Doug Peck.

One of the longest running musicals in Broadway history, 42^nd STREET is based on Busby Berkeley’s 1933 movie that saved Warner Brothers studios from bankruptcy. Set during the Depression in New York, and considered the quintessential backstage musical, 42^nd STREET tells the story of a starry-eyed young actress named Peggy Sawyer who leaves her Allentown home for a chance to audition for the new Julian Marsh musical about to open on Broadway. While she can't seem to stay in the good graces of the show's aging leading lady, Dorothy Brock, Peggy soon catches the eye of the well-known leading man Billy… and the famous director. On opening night, Ms. Brock breaks her ankle and panic spreads through the company as the show is doomed… until it is suggested that the recently fired Peggy take over the role. In only 36 hours, a star is born! With a book by Michael Stewart and Mark Bramble, music by Harry Warren and lyrics by Al Dubin, the memorable score includes We're in the Money, You're Getting to be a Habit With Me, Lullaby of Broadway, and of course, 42^nd Street.

42^nd STREET stars Broadway veteran Tom Galantich as Julian Marsh. Among his many credits, Galantich has been seen on Broadway in INTO THE WOODS, CITY OF ANGELS, THE BOYS FROM SYRACUSE, MAMA MIA!, DIRTY ROTTEN SCOUNDRELS, and BOEING, BOEING. He has also been seen in the major motion picture Julia and Julia. He is a graduate of Northwestern University and earned his Actors’ Equity card at the Marriott Theatre. Kaitlyn Davidson makes her Marriott Theatre debut as Peggy Sawyer. She was most recently seen as Judy in WHITE CHRISTMAS with the Pioneer Theatre Company after appearing in the Actors’ Fund production of THEY’RE PLAYING OUR SONG with Sutton Foster. She originated several roles in the World Premiere of the musical JOHNNY BASEBALL at the American Repertory Theatre.

42^nd STREET also features Drew Humphrey as Billy Lawlor, Cathy Lord as Dorothy Brock, Andrew Lupp as Andy Lee, Nancy Voigts as Maggie Jones, Michael Weber as Bert Barry, Roger Mueller as Abner Dillon, Adam Pelty as Pat Denning, Ericka Mac as Annie, Dina DiCostanzo as Lorraine, Johanna McKenzie Miller as Gladys and ensemble members Gary Carlson, Matthew Crowle, Jenny Guse, Patrick Keefe, Ashton Napier, Katie Patton, Matt Raftery, Steven Spanopoulos, Richard Strimer, Tiffany Topol, Melissa Zaremba.

Lead Artistic Director Andy Hite heads the Artistic Team for 42^nd STREET with Musical Direction by Doug Peck. Set Design is by Tom Ryan, Costume Design by Nancy Missimi, Lighting Design by Jesse Klug, Sound Design by Bob Gilmartin and Props Design by Sally Weiss. Patti Garwood conducts the Marriott Theatre Orchestra.

The performance schedule is Wednesdays at 1:00 p.m. and 8:00pm, Thursdays and Fridays at 8:00 p.m., Saturdays at 4:30 p.m. and 8:00 p.m., and Sundays at 1:00pm and 5:00 p.m. Ticket prices range from $41 to $49, plus tax and handling fees. Seniors and Students receive $5.00 off a full price theatre ticket on Wednesday 1:00pm, Saturday at 4:30 p.m. and Sundays at 1:00pm and 5:00pm. On Wednesday and Thursday evenings a limited number of Dinner and Theatre tickets are available for only $55.00 per person plus handling fees. Dinner is at King’s 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 www.Ticketmaster.com. Visit www.MarriottTheatre.com for more information.

Drury Lane Oakbrook presents AIDA

2011-03-05T20:45:00.004-06:00

Kyle DeSantis, Producer; Drew DeSantis, Producer; Jason Van Lente, Producer;

Abbie DeSantis, Producer

& William Osetek, Artistic Director

Presents the

Epic Tony Award-Winning Masterpiece

Directed and Choreographed by Jeff Award Winner Jim Corti

Oakbrook Terrace, IL- Drury Lane Theatre presents the Tony Award-winning international hit musical AIDA, Directed and Choreographed by Jeff Award winner Jim Corti (Sweet Charity, Meet Me in St. Louis, Cabaret, and Sugar.) Featuring a dynamic cast led by Stephanie Umoh as "Aida" ("Sarah" in the 2009 Broadway production of Ragtime) and Jared Zirilli as "Radames" (first National Tour of Wicked), AIDA previews March 17, opens March 24 and runs through May 29 at Drury Lane Theatre, 100 Drury Lane.

AIDA is a stirring tale of conflicting loyalties and star-crossed lovers inspired by Giuseppe Verdi's 19^{th century Italian opera with the same name. The sensational pop-rock score by Elton John and Tim Rice (The Lion King) includes musical influences ranging from African to Middle Eastern to Indian. AIDA made its Broadway Premiere at the Palace Theatre in 2000, where it ran for 1,852 performances and has since been translated into 14 languages and seen around the world. The production won four Tony Awards in 2000, including Best Original Score, as well as a Grammy Award for Best Musical Show Album for Elton John and Tim Rice’s AIDA: Original Broadway Cast Recording.}

Egypt has enslaved Nubia and the great power's prince, Radames, is engaged to be married when Aida, the princess of Nubia, comes to the palace as a slave. Forbidden love blossoms between them and the young lovers are forced to face death or part forever. The couple’s devotion ultimately transcends the vast cultural differences between their warring nations, heralding a time of peace and prosperity. This mesmerizing tale of the power of love and destiny features stunning choreography by Corti. Musical Director Ben Johnson breathes new life into a score complete with Motown, pop, reggae, gospel and tribal elements. The AIDA set is a brilliant combination of ancient and modern themes, including a massive plexiglass pyramid by New York City-based Set and Projections Designer Jim Dardenne (Radio City Music Hall, 25 world premiere productions.) Dardenne has created serene watercolor projections that evoke timeless images including lush Nile River scenery and breathtaking desert landscapes. Vibrant lighting by Jeff Award winner Jesse Klug transports audiences to the majestic world of ancient Egypt. Costume Designer Melissa Torchia puts a fashion-forward spin on historical pieces to create ethereal costumes and gorgeous natural stone and metal jewelry. The artistic team also includes Sean Kelly (Assistant Director), Monique Haley (Associate Choreographer), Tom Rapley (Associate Choreographer), Cecil Averett (Sound Designer), and Meredith Miller (Props Designer.)

AIDA stars Nicholas Foster as "Pharaoh" (Jeff Award Winner for Actor in a Principal Role-Musical or Revue for Parade, Sweet Charity at Drury Lane Theatre); James Earl Jones II as "Mereb" (Spamalot and Ragtime at Drury Lane Theatre); Donica Lynn as "Nehebka" (Once On This Island at Marriott Theatre); Darren Matthias as "Zoser" (Shakespeare Theatre Company); Erin Mosher as "Amneris" (first National Tour of 101 Dalmatians and Mamma Mia! in Las Vegas); Bruce Young as "Amonasro"; Stephanie Umoh as "Aida" (2009 Broadway production of Ragtime and Tin Pan Alley Rag at the Roundabout Theatre Company); and Jared Zirilli as "Radames" (first National Tour of Wicked, Equity Regional Premiere of Rent, Altar Boyz Premiere in Washington, D.C.) The production also features Melanie Brezill, Karen Burthwright, Stephane Duret, Michael Glazer, Monique Haley, Pia Hamilton, Pegah Kadkhodaian, Jarret Kelly, Adriana Parson, Todd Rhoades, Jaquez A. Sims, Brandon Springman, Eleho Temuru, Grant Thomas, Peter Vandivier, and Natalie Williams.

Jim Corti returns to Drury Lane Theatre after directing last season's Sugar and receiving Jeff nominations for Drury Lane Theatre’s Cabaret and Oh Coward! at Writers' Theatre. He received a 2008 Jeff Award for directing Sweet Charity and a nomination for Meet Me in St. Louis the same year. He also received the Jeff Award for his choreography in Drury Lane Theatre’s Singin' in the Rain and directed and choreographed The Full Monty, the inaugural production at Drury Lane Theatre Water Tower Place in 2005. For Victory Gardens, Corti directed Lonnie Carter's The Lost Boys of Sudan, Michael Smith's The Snow Queen at The Biograph, and Doug Post's God and Country at The Greenhouse. He has served productions at Steppenwolf, The Second City, Chicago Shakespeare, The Goodman, Marriott Theatre (Jeff Award for his role in Grand Hotel) and Northlight (Jeff Award for directing Blues in the Night). A veteran Broadway actor, he appeared in the New York casts of Ragtime, A Chorus Line and Candide and the national tours of Urinetown, Cabaret and Bob Fosse's Dancin'. At The American Theatre Company, he is choreographing The Original Grease with director PJ Paparelli and author Jim Jacobs. Corti is the newly appointed artistic director of The Paramount Theatre in Aurora, inaugurating its first Broadway subscription series this fall.

The performance schedule for AIDA 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 to $68 depending on the day of the week. Student tickets start as low as $20 and Senior Citizen tickets start as low as $29 for matinees and $43.75 for a matinee luncheon package. For reservations, call the Drury Lane Theatre box office at 630.530.0111, call TicketMaster at 800.745.3000, or visit ^{www.drurylaneoakbrook.com}^.

Porchlight presents MEET JOHN DOE

2011-03-05T20:42:00.001-06:00

PORCHLIGHT MUSIC THEATRE PRESENTS THE

REGIONAL PREMIERE OF THE AWARD-WINNING AMERICAN MUSICAL

FROM MARCH 4 THROUGH APRIL 17

Chicago, IL - Porchlight Music Theatre will present the highly anticipated Midwest Premiere of the new musical MEET JOHN DOE, based on the film of the same name by Frank Capra, previewing March 4, opening Tuesday, March 8^th at 7:30 p.m., and running through April 17, 2011 at Stage 773, 1225 W. Belmont, Chicago. The production is Directed and Choreographed by James Beaudry, Artistic Director at Timber Lake Playhouse.

MEET JOHN DOE had its workshop premiere at the New York Music Theater Festival (NYMF) in 2004 and was selected as part of the National Alliance for Musical Theatre convention in 2005. In 2006 it was presented in a limited production at the Goodspeed Opera House. In 2007, MEET JOHN DOE made its world premiere at the Ford's Theatre in Washington, D.C., where it was nominated for seven Helen Hayes Awards. The production features music by Andrew Gerle and lyrics by Eddie Sugarman with additional story by Matt August. Gerle and Sugarman also co-wrote the production’s book. The pair won a 2006 Jonathan Larson Award for MEET JOHN DOE and Gerle is creating new orchestrations specifically for the Porchlight Music Theatre production.

The New York Post said that MEET JOHN DOE is “Irresistibly catchy…sparkles with wit and irony….success is written all over it!” Theatermania.com raved, “A smart and feisty show wrapped in a big Broadway sound!” The Examiner called it “One of the best new musicals in years” and the Washington Post enthused “A promising American musical isn’t born every minute….filled with clever lyrics and supple melodies.”

Based on the classic 1941 film starring Gary Cooper and Barbara Stanwyck, MEET JOHN DOE follows plucky journalist Ann Mitchell, who loses her job in the middle of the Great Depression. Ann prints a phony letter from a "John Doe" who, protesting the state of society, promises to jump off the Brooklyn Bridge on Christmas Eve. Circulation goes through the roof and she convinces her editor to hire an out-of-work ballplayer, John Willoughby, to stand in while she ghost-writes the "John Doe" column. With her words and his down-home charm, John Doe quickly becomes a national sensation. As Ann, John and "John" tour the country, and when the paper's powerful owner reveals his true plans for John Doe, both Ann and John must confront the hoax they've created and decide what is best for their country.

Andrew Gerle (Music and Co-Bookwriter) is a three-time recipient of the Richard Rodgers Award for musical theater writing, administered by Stephen Sondheim and the American Academy of Arts and Letters, for The Tutor (book and lyrics by Maryrose Wood.) He received the first Burton Lane Fellowship for Young Composers from the Theater Songwriters’ Hall of Fame and has recently been collaborating with librettist Royce Vavrek on new works for The New Ensemble Theater Company, as well as an opera, The Beach, which was selected for New York City Opera’s 2011 VOX reading series. His play Renovations was recently included in The Blank Theater’s Living Room Reading Series in Los Angeles, and will be premiered in 2011 at the White Plains (NY) Performing Arts Center. He has been a Fellow at the MacDowell Artists’ Colony and a writer-in-residence at the Sundance Theater Institute at Ucross and the Eugene O'Neill Musical Theatre Conference. As a musical director, he has worked on dozens of Off-Broadway, regional and touring productions. He has served as musical director and accompanist for such distinguished artists as Kitty Carlisle Hart, John Raitt, Jennifer Holliday, Leslie Uggams, Liz Callaway, Mary Testa and Michael Rupert. A CD of his jazz arrangements of the songs of Maltby & Shire with vocalist Christa Justus was released in 2010 under the PS Classics Label. His book, The Enraged Accompanist’s Guide to the Perfect Audition, will be published this March by Hal Leonard (Applause Books.) He is on the faculty of Yale University, where he teaches musical theater songwriting.

Eddie Sugarman (Lyricist and Co-Bookwriter) is Managing Director of the Jedlicka Performing Arts Center in Cicero, Illinois. After graduating from the University of Michigan with a BFA in Musical Theatre, he went on to perform in regional theatre and in New York City for about a decade, where he appeared on Broadway in the original cast of the Tony Award-winning musical Ragtime. His holiday musical The Nutcracker Sings, had its premiere at the Jedlicka Performing Arts Center and is currently booking multiple productions for Christmas 2011. He has won the ASCAPlus Award and a grant from the National Alliance for Musical Theatre, and has had the honor of serving on the Musical Theatre Panel for the National Endowment for the Arts.

James Beaudry (Director and Choreographer) serves as Artistic Director at Timber Lake Playhouse. His directing and choreography credits include the world premieres of Jason & Ben (NYMF) and Mark Twain's Blues (Off-Broadway.) He has staged over 50 productions working with companies as diverse as The Lee Strasberg Theatre & Film Institute, Tada! Youth Theatre, New York Musical Theatre Festival, Downtown Cabaret Theatre and The Guggenheim Museum. Musical credits include Chicago, Cats, West Side Story, Into The Woods, Pippin, The Wiz, Curtains, Hair, Urinetown, Oklahoma!, The Best Little Whorehouse in Texas, Bat Boy, White Christmas, Godspell, Fame, Footloose, Thoroughly Modern Millie, Dirty Rotten Scoundrels and 42nd Street. Original dance works include Rite of Spring-- Left of Center, Rodgers & Hammerstein's Xenophobia! and Eleanor Rigby Died in a Church.

MEET JOHN DOE features an all-star cast including Sean Effinger-Dean as Beany, Karl Hamilton as John Doe, Elizabeth Lanza as Ann, Rus Rainear as The Colonel, Jim Sherman as Connell, and Mick Weber as Norton. The production also stars Eli Branson as Bert, Harmony France as Eileen, Elizabeth Gray as Peggy, Kelly Hackett as Betty, Elizabeth Haley as Helen, Matthew Keffer as Ted, Travis Porchia as Henry, Pavi Proczko as Bill, and Michael Reyes as Alexander. Musical direction is by Eugene Dizon, Lighting Design is by Mac Vaughey, Costume Design is by Elizabeth Wislar, and Set Design is by Ian Zywica.

About Porchlight Music Theatre

Porchlight Music Theatre is Chicago’s music theatre leader; producing award-winning interpretations of classic musicals and cutting-edge new works on intimate stages. The company is recognized for providing nurture and challenge for stars-in-the-making as well as veteran performers. The company has staged 37 shows including four world premieres, among them, The Teapot Scandals, its first work developed through Off the Porch, Porchlight’s new works program, as well as seven Chicago premieres. An Equity theater since 2004, the company has already received a total of 33 Joseph Jefferson Award nominations resulting in 11 Jeff Awards.

Porchlight Music Theatre is partially supported by generous contributions from the A.R.T League, the Arts Work Fund at the Chicago Community Trust, a City Arts Program 2 Grant from the Chicago Department of Cultural Affairs, the Elizabeth F. Cheney Foundation, the Shen Family Foundation, the Gaylord & Dorothy Donnelley Foundation, the Illinois Arts Council (a state agency), the MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation, the National Association of Realtors, Peoples Energy and The Saints.

Ticket Information

MEET JOHN DOE begins previews March 4 and runs through April 17, 2011. The Press Opening is Tuesday, March 8 at 7:30 p.m. The performances are Fridays and Saturdays at 8 p.m., and Sundays at 2:30 p.m. Single tickets are $38.00, and discounts for seniors, students and groups are available. Tickets may be purchased through the Stage 773 box office at 773.327.5252 or at www.stage773.com. Group Sales Discounts are available through www.GroupTheaterTix.com or at 866.809.3075.