Rock Chicago Magazine

Goodman Theatre’s “A Christmas Carol” Celebrates 35

Now entering it’s 35th year, the Goodman Theatre’s production of A Christmas Carol has become a Chicago tradition, although as a born and breed Chicagoan, I must admit to having never actually having seen any of the previous productions before. I am, however, pleased to report that I wish I had. The show is a joy from the moment the lights rise to the moment they dim. I hardly need to go into the plot of Dickens’ masterpiece of redemption and hope, but for the few of you who are unfamiliar, here’s a refresher. Scrooge, a callous money lender is visited on Christmas Eve by his long deceased partner Jacob Marley, who warns Scrooge that he will be visited by three ghosts throughout the night, who will offer him the opportunity to sympathize with his fellow man, or be forever damned to walk the earth after death in the chains of misery he sewed in life

Ah, but any production of A Christmas Carol is only as good as its Scrooge. This one has a true master on stage. From the moment Larry Yando  (now in his sixth year as Scrooge) takes the stage, Mr. Yando commands it, not a performer afraid to take risks. He finds the lighter sides of Scrooge, so that when he makes his transition it doesn’t come from nowhere.

This production doesn’t skip a beat from Todd Rosenthal’s Victorian gem of a set. Robert Christen’s mood setting lighting. Heidi Sue Martin’s costumes were always period perfection with one notable exception. The Ghost of Christmas Past with her white Peter Pan pixie just didn’t seem to work. Richard Woodbury, and Andrew Hansen’s sound and music always hit the right note. Steve Scott runs a tight ship keeping the evening moving along with brisk pacing, and lively staging

Penelope Walker is first rate as the Ghost of Christmas Present. She brilliantly walks the line between unabandoned joy and no nonsense charm. Ora Jones always a standout was a sheer delight pulling double duty as Scrooge’s gossipy charwoman, and the bubbly Mrs. Fezziwig. Joe Foust is absolutely chilling as The Ghost of Jacob Marley. Nora Fiffer was heartbreakingly radiant as Belle with a pitch perfect Scottish brogue. Jordan Brown very effectively portrays a Young Scrooge. Ron Raines wonderfully masters the long suffering Bob Cratchit. Demetrios Troy and Dana Cruz do strong work as Scrooge’s nephew and his wife.

By the end of the show I found tears steaming down my face as Tiny Tim said that now famous line “God bless us everyone.”

Reviewed by Ty Perry on 12/20/12

War Horse: A Production Worth Betting On

The National Theatre’s EPIC; WAR HORSE, winner of five 2011 Tony Awards including Best Play, has come to Chicago and it’s GLORIOUS. Simply Glorious!

Michael Morpurgo’s novel, War Horse was also the inspiration for Steven Spielberg’s feature film of the same name which garnered six Academy Award nominations, including Best Film.

Hailed by the New York Times as “theatrical magic’, WAR HORSE is the powerful story of young Albert’s beloved horse, Joey, who has been enlisted to fight for the English in World War I. In a tale the New York Daily News called, “spellbinding, by turns epic and intimate,” Joey is caught in enemy crossfire and ends up serving both sides of the war before laning in no man’s land. Albert, not old enough to enlist, embarks on a treacherous mission to find his horse and bring him home. What follows is a remarkable tale of courage, loyalty and friendship filled with stirring music and songs told with some of hte most innovative stagecraft of our time. (lifted from Official Press Release)

While I was not a ‘fan’ of the Spielberg film, I’ve long anticipated an opportunity to see the stage production, so my coming face to hooves with the theatrical War Horse of critical acclaim was well worth the wait. While the film was breathtaking to watch, the simplicity of it’s tale was overshadowed by it’s sumptuous cinematography. In the theatrical production it’s the deployment of the imagination that ignites the senses. And this production is aces.

The ensemble work in this flawless touring production is seamless and anchored masterfully by a handful of leads. Actors; Brian Keane (Arthur Narracott), Angelo Reed (Rose Narracott), Andrew Veenstra (Albert Narracott), and Michael Wyatt Cox (Billy Narracott) deliver brazenly boisterous, emotionally fluid and painstakingly nuanced performances. In particular, Mr. Veenstra is an endearing delight to watch maneuver through the emotional mine fields of the relationship he shares with his pal Joey and throughout the 2 hours plus of the plays compelling story. Serving as the plays roving minstrel, the play is strewn together in song by actor John Milosich. Milosich’s presence throughout the play is both haunting and mindful of the daily toil of the men and woman who work the land, pushing forward through and towards the uncertainties of tomorrow. Tomorrow’s filled with family, friendship, strife, hope and war.  Milosch is a haunting and emotional presence.

The true ‘stars’ of this production however, are the puppeteers. These performers and in this show in particular, may be some of the hardest working performers currently employed in all of showbiz. With eloquence of neigh and fanciful, delicate footwork, they trod, plod, dance and prance in grand fashion. Their work is amazingly detailed and quite fantastic to watch. AT every turn one’s imagination is encouraged to engage in the fantasy of skillfully crafted inanimate objects coming to full life. At the play’s end, after the actors had bowed, the horses were trotted out, and respectfully surrendered to a standing ovation from the audience. What these puppeteers do is rarely seen and simply should be seen by all lovers of performance and theater.

Execution of craft, solid directing, a wonderful story and a stupendous mastery of puppetry make WAR HORSE a truly moving and amazing theatrcial experience. A Must See to top everyone’s list. Neigh, one of our great cities best BETS!

Reviewed by Madrid St. Angelo on 12/18/12

“The Book of Mormon” Strikes Gold in Chicago!

The Book of Mormon has finally reached Chicago! The Book of Mormon has garnered positive critical response and numerous theatre awards including nine Tony Awards, one of which was for Best Musical, and the Grammy Award for Best Musical Theater Album. Now the musical, written by South Park creators Trey Parker and Matt Stone and Avenue Q writer Robert Lopez, has finally settled down in Chicago after Broadway. The show has already sold-out in Chicago through March.

From the moment you walked into the Bank of America Theatre, you can see the lavish sets by Scott Pask, looking so heavenly. You knew you were in for a treat. The Chicago production is directed by Trey Parker and Casey Nicholaw, who also choreographed the show as well, and let me tell you; the dancing was incredible.

For those of you who are not familiar with The Book of Mormon, let me help you out. The story revolves around two young Mormon Missionaries named Elder Price (Nic Rouleau) and Elder Cunningham (Ben Platt) sent to a remote village in northern Uganda, where a brutal warlord (David Aron Damane) is threatening the local population. Naïve and optimistic, the two missionaries try to share the Book of Mormon, one of their scriptures—which only one of them knows very well—but have trouble connecting with the locals, who are more worried about war, famine, poverty and AIDS than about religion.

American Idol alum Syesha Mercado stepped in at the last minute to play the role of Nabulungi, daughter to Mafala Hatimbi (James Vincent Meredith). For coming in last minute, not only was she funny, but her vocals were superb. Mercado and Platt blended really well together onstage.

Vocally, Nic Rouleau was spectacular. Andrew Rannells originally played the role on Broadway. Rouleau is not as good as Rannells but he was close enough. Ben Platt was hilarious the entire show. I prefer him over Broadway’s Josh Gad any day. It also seemed that Platt was adding a little bit of improv to his character, which made it ever more enjoying to watch. I recently saw Platt in the film Pitch Perfect. After seeing him play Elder Cunningham, I will gladly follow his career from here.

Before I get more into this show, if you never liked the TV show South Park, then you might not like this show. The humor is pretty much the same. I have been watching South Park for 16 years and have seen Parker and Stone’s past films including South Park: Bigger, Longer & Uncut, Team America: World Police and BASEketball. Everyone in the audience on opening night were laughing hysterically throughout, which proves that Parker and Stone’s humor can reach from young to old. The ages in the audience ranged from most likely 13-year-olds to 80-year-olds. I will tell you there is a lot of strong language in this show, so I wouldn’t neccessarily bring your kids to this.

The music in this show is outstanding, perhaps Lopez’s best work yet. With songs like “Hasa Diga Eebowai,” “Sal Tlay Ka Siti,” “Spooky Mormon Hell Dream” and “I Am Africa,” Lopez, Parker and Stone really dig into their filthiest to produce what has to be the most hysterical musical I’ve ever seen, and the way that these songs are staged just makes you want to come back for more.

The Book of Mormon is definitely a controversial show to many, but it has a heart of gold and a good message to go along with it. The creators should be very proud of their show, as everything and everyone was casted right in their position here. Anyone and everyone should come see this show if they can. If you’re Mormon, you might not like it so much. But, hey, if you have a sense of humor about it, then sure enough, you will. The show is actually sold out through March 3^rd. But you should be able to get tickets for the coming months afterwards, as it is sitting down in Chicago for awhile.

For more info on The Book of Mormon visit www.bookofmormonbroadway.com

Playing at the Bank of America Theatre, 18 W. Monroe, Chicago, IL, call 800-775-2000, www.broadwayinchicago.com, tickets $45-$115+, Running time is 2 hours, 35 minutes with intermission, through June, 2013

Reviewed by Kevin Pollack on 12/19/12