Rock Chicago Magazine

Andrew Lloyd Webber Could’ve Done Better: Now & Forever at Marriott

Marriott Theatre’s latest production Now & Forever: The Music of Andrew Lloyd Webber was an interesting choice by Marriott’s lead artistic director Aaron Thielen and director/choreographer Marc Robin. Especially doing a world premiere show like this at Marriott. Obviously, you can tell they both love the music of Andrew Lloyd Webber.

With 19 people in the cast, the show not only was a musical revue, but also had a lot of dance as well from ALW’s show Song & Dance. Each dance throughout the show was a “Variation.” The choreographer Marc Robin of course had help with Harrison McEldowney and Marriott regular Matt Raftery to create a stunning visual concept of different styles of dances throughout the night.

The orchestra led by Patti Garwood really made the night sound spectacular. With 11 musicians, they really felt like a full 40 or 50-piece orchestra. Nancy Missimi’s costumes were really boring and dull.

When it comes to the singers throughout the show, the men really outweighed the women, except for a couple. There were also some things I really would’ve done differently. Like having the whole ensemble singing “As If We Never Said Goodbye” (Sunset Boulevard) and “The Music of the Night” (The Phantom of the Opera) just didn’t work for me.

Starting the show with the “Overture” to The Phantom of the Opera with the chandelier rising from the bottom to the top of the stage was a great way to start the show. But from then on in, I was hoping for more. In act 1, there were only a couple standout number including Broadway vet Linda Balgord’s beliveable “With One Look” (Sunset Boulevard), Max Quinlan & Erin Stewart’s “The Phantom of the Opera” (Phantom), “Masquerade” (Phantom), Brian Bohr’s “Starlight Express” (which is my favorite ALW show) and Jameson Cooper’s really creative rendition of “Any Dream Will Do” (Joseph and the Amazing Technicolor Dreamcoat) with an acoustic guitar. Some of the best moments of the night for me happened ending act one with Cooper coming onstage with only an electric guitar and playing the opening chords to Jesus Christ Superstar. Then, Max Quinlan coming out with Superstar (JCS) just put the cherry on top.

In act two, there was a lot more dancing and only a couple decent songs including Catherine Lord’s “Unexpected Song” (Song & Dance), “Love Changes Everything” (Aspects of Love) sung by the male leads Ben Jacoby, Max Quinlan and Travis Taylor. Travis Taylor also sang a great rendition of “Till I Hear You Sing” (Love Never Dies). Linda Balgord also did a great job with “Memory” (Cats), but what really brought down the house was Max Quinlan’s heartfelt “Gethsemane” (JCS).

Overall, I’ve seen plenty of shows at Marriott Theatre and seen a couple world premieres there such as this one, but I honestly wouldn’t waste my money on this show. As you can see, there were only a couple worthy numbers and the dancing was great, but I honestly don’t see this show lasting or going anywhere. But if you are a true ALW fan and love his music, then check this show out. Another reason why I don’t care for this show, is it has no plot. Revues can get really boring with people just taking turns to sing. But when you look at jukebox musicals, they have the songs you know and love in the show with a plot connecting them all together. I would’ve loved to see that happen with ALW’s music.

Now & Forever: The Music of Andrew Lloyd Webber runs through March 17, 2013 at The Marriott Theatre, 10 Marriott Drive in Lincolnshire.The performance schedule is Wednesdays at 1:00 p.m. and 8:00 p.m., Thursdays and Fridays at 8:00 p.m., Saturdays at 4:30 p.m. and 8:00 p.m., and Sundays at 1:00 p.m. and 5:00 p.m. Ticket prices range from $40 to $48, excluding tax and handling fees. Students 17 and under and senior citizen 62 and older receive $5.00 off a full price theatre ticket for Wednesday Matinee, Saturday Matinee, Sunday Matinee and Sunday Afternoon performances. On Wednesday and Thursday evenings a limited number of Dinner and Theatre tickets are available for only $55.00 per person. For Friday, Saturday, and Sunday evening dinner reservations in The King’s Wharf or Fairfield Inn, please call 847-634-0100. Free parking is available at all performances. To reserve tickets, please call the Marriott Theatre Box Office at 847.634.0200. Visit www.MarriottTheatre.com for more information. For calendar information please visit www.TheatreInChicago.com

Singin’ in the Rain Gets Soaked at Drury Lane

In 1952, Betty Comden and Adolf Green wrote a lively send-up of 1920′s Hollywood on the cusp of the transition to talkies that was to star Gene Kelly, Debbie Reynolds, and Donald O’Connor. Their new screenplay was to be called Singin’ in the Rain. The movie of course went to be a hit with songs, and performances forever emblazoned in the minds of a nation. In 1983, it was given a substandard adaptation for a failed Broadway production that is currently on stage in a very uneven production at Drury Lane Oakbrook.

I suppose the first question to be asked about any production of Singin’ in the Rain is “Does it rain on stage?” the answer, yes, it does. In spades, but that’s about all it does.

It’s not that everyone in Director Bill Jenkins’ lack luster production isn’t giving it the old college try, but there seems to be no sense of connection from scene to scene. One might surmise that it’s because the show’s original star Sean Palmer (Stanford’s model boyfriend on Sex in the City) was side lined with an injury during previews, pushing back the opening resulting in Broadway vet Tony Yazbeck (a very able performer) coming in from New York, tap shoes in hand, to save the day. Anyone who’s seen the movie, or show knows there is a certain amount of chemistry between it’s stars required to make the piece work. Even though Jenny Guse, and Yazbeck are both quite capable talents, no real spark ever ignites between them. But this problem is systemic, and show wide. It’s really only Matthew Crowle (who choreographed several of the tap numbers) who escapes  all the traps in the show with his multi-layered Cosmo Brown.

Singin’ in the Rain is a very difficult production to mount rain withstanding, because you have to find a balance between what the audience sees and what is filmed. The show requires several faux period silent movies one of which features Debbie Reynolds (a frequent performer at the theatre) which gets laughs, but makes one wonder why she’s dressed in modern day dress instead of 1920′s garb as everyone else on the stage is. The rest of these movies are just soul sucking and long.

The productions of Singin’ in the Rain that succeed are those in which the director is willing to do the work that didn’t get done in 1983, and find the right theatrical metaphor to make the whole thing work. Seamlessness is the key here, and everything seems a bit off from Kevin Depinet’s set with it’s chicken scrawl Grauman’s Chinese Theatre sign, to Amber Mak’s sluggish choreography.

The Comedy is off too. Melissa Van Der Schyff, Lina Lamont, the star who is done in by talkies, a fine performer who falls into one of the many traps of her role by starting so far over the top she has nowhere to go.

The parts don’t really make up a whole here, so even when we get a highlight such as Moses, it followed by a scene that’s a train wreck of timing. With such a string of winners recently, this latest Drury Lane excursion is a let down.

Reviewed by Ty Perry on 1/12/13

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

Classic Seuss Tale a Joyous Ode to True Meaning of Christmas

Opportunities to relive precious childhood moments are rare. Narey a child on planet earth is unfamiliar with the whimsical magical world of Dr. Seuss and come each holiday season; Seuss’s timeless classic, ‘How The Grinch Stole Christmas’ most certainly tops every child’s  book/cartoon/movie list. And justly so! As a holiday staple, the Seuss classic relays an age old tale of good vs. evil, wholsome vs. pure whilst weaving a vibrant, wild ride conveying the true meaning of Christmas. We all know the story – Whoville is a town of happy do-gooders earnestly awaiting and prepping for the Christmas holiday. Just outside the town, atop an ominous mountain lives the Grinch; an evil, nasty meiser who sets out to take away the town’s joy by shutting down Christmas. Only the love of a pure hearted child can thaw the chill of the abominable Grinch. When all the accoutrement of Christmas is stripped away from Whoville by the Grinch- love, joy and hope remain and are revealed in their purest forms and in the hearts of the Whos. After all, the true spirit of Christmas has nothing to do with the externals; the beautifully decorated trees, the lights, the fireplace stockings, the gifts and everything to do with goodly acts and gestures of kindness and love from the heart. From the hearts of all men, women, children and animal companions to the hearts of all worldly inhabitants…even towards Grinches.

Broadway in Chicago’s production of ‘How The Grinch Stole Christmas’ is pure magic. 90 minutes of sheer holiday joy on stage; complete with magnificent, larger than life, eye popping sets. The set design is so grand in fact, that one feels as if one has literally jumped into the pages of Seuss’s book itself. The productions musical numbers are totally delightful and allow for the ensemble to work in a nuanced and harmonious manner. Grinch song classics like, ‘You’re A Mean One Mr. Grinch’ and ‘Welcome Christmas’ come to life in true toe tapping fashion. Stand out performances are delivered by Bob Lauder,  Jenna Iocono and Seth Bazacas. Lauder playing Old Max the Dog narrates the show with a stridance and style that is tonally gruff and physically fluid and playful. Iocono who plays Cindy Lou, the little girl that worms her way into the heart of the Grinch is a lovely, lovely young actor who delivers her Cindy Lou in earnest and hope filled spoonfuls. Bazacas is playfully endearing as Young Max the Dog. The show stand out and stealer, if you will is Stefan Karl who plays The Grinch. Karl delivers a performance that encompasses just the right amount of terrifying nastiness and heart break rebirth. At once terrifying and vulturous, Karl grabs hold of the audience, at times breaking the fourth wall, and whisks all away to Seuss land with the wonder and delight of innocence, of youthful days gone by. This production is much, much more than a stocking stuffer, it’s a holiday concoction of perfection and commendable family entertainment.

A holiday must see production for all those who revel in watching kids shriek in sheer delight and for those of us needing a dose of true Christmas spirit  and meaning, especially now while the world spins out of control with consumerism. Jump onto the nearest sleigh and rush down to the Cadillac Palace to experience this holiday ode to goodness and Christmas Light, love and Hope. Sometimes going back in time, and reliving once again those precious childhood moments of wonder are what it’s all about and what we need to do! Don’t be a Grinch…and go see this show! You’ll be glad you did!

Reviewed by Madrid St. Angelo on 12/5/12

How The Grinch Stole Christmas – The Musical

Running through Dec. 16, 2012

Tickets/Info: www.BroadwayinChicago.com

Williams Street Rep’s “It’s A Wonderful Life: A Radio Play” Warms Hearts in Crystal Lake

If you’re looking for something to do out in the Northwest suburbs, the Williams Street Repertory is entering the final weekend of its three weekend narration of “It’s A Wonderful Life- A Radio Play” at the Raue Center in Crystal Lake next week.  Putting a unique twist on the classic Frank Capra drama, the setting is a pre-television era radio station. George Bailey, played great in Jimmy Stewart character from start to finish, is played by Danny Miller, and his faithful wife Mary, who is played beautifully by Sarah Breidenbach, along with the regular cast of characters bring to life the story of Bedford Falls, it’s pending demise, of which, of course, is saved by a desperate failing Angel named Clarence. Other notable performances included Frank Gaughn’s strict portrayal of Mr. Potter.

Except in this presentation, it is very cleverly presented as a 1940’s radio troupe preparing to do a performance of the play over the air in the days before everyone had a television in their living room, and the evening entertainment was found by sitting next to the radio and listening. So you have a play with actors playing a role at a radio station, who are then playing a character in “It’s a Wonderful Life”, and they are hit with a huge snowstorm the afternoon of the broadcast. Got it? The events that follow are hilarious and put a fresh spin on the familiar Holiday movie.  The show was very well done here in this setting with the great set design and cool original commercials that sound as if you heard them way back when. Very well done Williams Street Repertory!

The play, produced by special arrangement with The Dramatic Publishing Company of Woodstock, Illinois, will be presented Friday, December 14^th, and Saturday, December 15^th, and has ticket prices ranging from $22.00 to $28.00. For more information, including show hours, directions, and other upcoming events, visit the Raue Center website at www.rauecenter.org.  So pick up a ticket, sit back and relax, and enjoy being taken back to a bygone era for a few hours of fun and laughs.

Reviewed by Patrick Kinsella on 12/1/12

Mandy Patinkin Bring the New “60″ to Pick-Staiger Hall for Over the Rainbow Benefit

I think theatre people fall into two camps about Mandy Patinkin; you either love him or you hate him, and after Saturday night’s Benefit Concert for Over the Rainbow Association at Pick-Staiger Concert Hall, I definitely am a member of the former category. The evening started out with the audience being asked to don birthday hats, and surprise “Mandy” by singing “Happy Birthday” to him upon his entrance, as the performance coincided with Mr. Patinkin’s 60th birthday, and believe me, the star got quite a few laughs about the hazards of memory and aging.

The evening began with Sondheim’s comedic princely duet “Agony” (with baritone Nathan Gunn) with whom Mr. Patinkin shared the evening. From there he went into a heartfelt story about how the next song he was about to sing his son had suggested, and when Mr. Gunn said “Mandy that’s not the next song,” Mr. Patinkin deadpans “well, that’s 60″ into an effortless medley of “Japanese Sandman/Bats in the Belfry” then we get the sons suggestion a devastating “Cats in the Cradle.”

Up next, Mr. Gunn shines with Rodgers and Hammerstein’s “Soliloquy” before he joins Mr. Patinkin in a stirring rendition of The Secret Garden’s “Lily’s Eyes.” At this point in the evening, we get right out star turns with Patinkin’s “Mammy”, and Gunn’s “World on a String.” Which took us to the highlight of the evening; a very topical Lincoln Suite pairing “Shenandoah” with the Gettysburg Address ending with Sondheim’s “The Ballad of Booth.” There were many other highlights from Gunn’s stirring “Don’t Fence Me in/Home on the Range”, or Patinkin’s cover of “Bohemian Rhapsody,” Gunn’s “C’est Moi” from Camelot complete with a surprise visit Inigo Montoya, Patinkin’s “Trouble” joined by his son for an impromptu duet, or Mr. Gunn’s wistful “If ever I would Leave You.” Taking us to the evening’s second highlight, Patinkin closing the show with the Sondheim masterpiece “Children and Art.”

It was a wonderful evening for a very worth while organization. The Over the Rainbow association provides housing for disabled persons to live independently. They started in 1982 with one building in Lincoln Park the concert marks the opening of their ninth building.

Review by Ty Perry on 12/1/12