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When it comes to bringing Rogers and Hammerstein’s “The Sound of Music” alive on stage, of course the surrounding cast is utterly essential, but most important of all, the show would need a vibrant “Maria” who absolutely exudes true spirit and fun. Drury Lane’s Production of “The Sound of Music” has not only put together a brilliant surrounding cast from top to bottom, but has also struck gold with leads Larry Adams as “Captain Von Trapp” and Jennifer Blood as “Maria Rainer”. Not only are the two vocally right for the roles; their chemistry together is nothing short of magical, adding a very believable element to this timeless story of love for family and country.

It’s not always easy to bring classics to the stage since we already have such a preconceived notion as to what we expect from certain characters or are often saddled to such a familiarity to a particular role that we don’t want to stray away too far from what we’ve come to know. However, in this case, Drury Lane Productions has succeeded and then some.

To no lack of vocal prowess, the jury still seems to be out on Blood after her opening number, “The Sound of Music”, as it is not yet clear where this “Maria” will take us. But it doesn’t take long to find out. During her next song, “I Have Confidence”, her talents really shine at the same time her personality beams throughout the house and it is apparent she has captured the entire crowd. Each of the seven children is immediately likeable and, like the rest of the cast, more than vocally efficient. Patti Cohenour adds a tasty punch as “The Mother Abbess” boasting her incredible vocal range while Peter Kevoian is entertaining as can be as “Max Detweiler”.

The set design is stunning as the audience is taken inside the Abbey then into different areas of the Von Trapp mansion and its courtyard. One highlight has the stage transformed into the very festival in which the performing Von Trapp Singers escape from Nazi occupied Austria. So detailed is the setting that Nazi soldiers walk up and down the isle on the look out for any foul play, placing audience members into the festival itself.

Many productions of “The Sound of Music” have come and gone and some have stood out more than others. This current production is one that stands at the top. A perfect holiday treat or a family night out, “The Sound of Music” at Drury Lane in Oakbrook is a memorable experience that you can enjoy over and over again.

If you’ve ever worked a day in your life, ever waited a table or slaved the day away in a cubicle, then you’ll love the Broadway musical Working. This upbeat, funny, hauntingly true-to-life musical capturing the stories of everyday working people has something for everyone.

Working is a musical based on the book by Chicago’s own Pulitzer Prize winning author, Studs Terkel. With songs written by Tony Award winners, Grammy winners, and Broadway composers, it should come as no surprise that the songs are not only catchy, but beautifully composed. Quirky and funny songs like “Delivery” about a fast food worker enjoying the days he gets to deliver and breathe fresh air, to songs like “Cleaning Woman” about a woman ending the cycle of her family becoming cleaning women and working to give her daughter a better future and better occupational options. There are over twenty characters portrayed in the musical through various scenes all seamlessly strung together, played by an all-star cast made up of only six actors and actresses. E. Faye Butler gave standout performances, stealing the stage every time she belted out a ballad, portraying a project manager, a housewife, a prostitute, and a cleaning woman. Emjoy Gavino captured our hearts as the hilarious flight attendant, a millworker, a receptionist, and a caregiver. Gabriel Ruiz was an absolute crowd favorite as a food delivery boy, a receptionist, a community organizer, a caregiver, and a young ex-newsroom assistant. Michael Mahler, Barbara Robertson, and Gene Weygandt rounded off the cast with memorable portrayals of workers in all types of professions from all walks of life. With so much talent in this six person cast you’d think there were more than twenty cast members in the company and throughout the show the transitions from one character to another are so seamless that it’s hard to comprehend that the steel worker just became the hedge fund manager in the blink of an eye.

You don’t have to be a fan of musicals to enjoy this show as it appeals to anyone who has ever had a job for any reason. Studs Terkel believed that our work became a part of our identity and his interviews in 1974 shed light on the lives of those whose occupations may be less than desirable, but more than necessary to our society. The musical was originally adapted for the stage by Stephen Schwartz (the brilliant mind behind Wicked, Pippin and Godspell), who made it both entertaining and believable. Throughout the play you’re introduced to hard working people we might overlook every day, from a cleaning lady to an architect and construction worker. Have you ever sat in your cubicle in your building and thought of the people that designed the building? Built the building? How about those who clean the building each night? Ever thought about the lives of those people, where they come from, what their dreams are? Perhaps not, but after seeing this play you might think twice about those people. We all work for a living, no matter what our job is. It isn’t the job that defines us, but we who define our jobs.

Tickets are a little on the pricy side, but in my opinion they are worth every penny. Any musical that can bring both humor and truth to everyday life and open your heart with inspirational and hopeful tales of hard working people. Working is playing at the Broadway Playhouse, for more information and tickets visit www.broadwayinchicago.com.

If you are on the prowl for some very funny improv, follow the path that leads to Chicago’s Apollo Theatre at 2540 N. Lincoln Ave. It is there that every Friday at 10:30 pm the hilarious comedy troupe "Baby Wants Candy" takes the stage to perform a comedy musical that, as they say, "Will be the very first and very last performance ever". The reason being is that the audience gets to choose the topic for each show. After a brief introduction the audience is called upon to shout out a musical that has never been done before. For example past performances included "Barack Obama’s Baby Mama Drama the Musical", "My Cat Has Aids the Musical" and "Nobody Puts Baby Jesus in the Corner the Musical", "How Captain Morgan Saved Christmas the Musical" and "It’s 1986 and Things are Going to be Different the Musical"

The show, in particular, that I attended featured "Harry Potter and His 12-Inch Wand". Well, I’m sure you can guess by the title where that show went. With songs ranging from on-the-spot big chorus numbers to less harmonious, more refined numbers, the ensemble injects humorous lyrics into melody created in part by the live band that is also improvising as they go. A story is cleverly formed by borrowing subject matter from the title complete with its own climactic ending, all the while cast members bursting into song at any given moment. Though off-key vocals often fill the air due to the spontaneous nature of the production, the talented ensemble makes this improv show work successfully with use of their quick wit and physical comedy, taking it a step above other comedy improvisations.

The Chicago ensemble is loaded with an all-star lineup that includes two-time "Jeopardy" contender and Second City touring member Joey Bland, and Erica Elam, who has also performed with Second City, as well as Annoyance, and The Comedy Shrine.

Best of all, each show is completely different from the last making "Baby Wants Candy" a show that can be enjoyed again and again.

For more information or show tickets visit wwwbabywantscandy.com or call 773-935-6100.

If you’ve ever seen the 1975 film “Monty Python and the Holy Grail”, then “Spamalot” is a must-see. If you have not seen the film, then “Spamalot” is a must-see. Now playing at the Drury Lane Theatre in Oakbrook through March 6^th, “Spamalot” is as funny a musical as one could hope to attend. Naturally rich in Monty Python’s witty English humor, this show gets the audience laughing in a hurry and never let’s up.

Marvelously directed by William Osetek, each number captures the perfect amount of physical comedy needed in order to go over the top but not so much that it becomes stupid silly. Gina Milo, who plays the “Lady of the Lake” epitomizes this by brilliantly continuously creating side-splitting facial expressions in each performance to perfection to nail the humorous point of each song. Milo’s singing itself is also impressive as the former Broadway “Les Miserables” star displays her enormous vocal range. Comic timing is key in this production of Spamalot, thanks in part to David Kortemeier, who takes the leading role of King Arthur and runs with it, really bringing down the house in his very funny rendition of “I’m All Alone” among others. Each cast member plays a vital role and each does it very well. With amazing performances by Sean Allan Krill (Sir Dennis Galahad), John Sanders (Sir Lancelot) and Jackson Evans in his multiple roles, I only regret that I cannot include the entire cast’s names in this review in order to give them their much-deserved props.  

With a flurry of colorful and sexy dance routines, inspiring sets and a plethora of songs guaranteed to make you laugh, “Spamalot” is a smashing success. For show information and tickets call the Drury Lane box office at 630-530-0111 or visit www.drurylaneoakbrook.com.              

“Godspell” is a musical for everyone. Now that that has been stated, everyone should see this particular production by the Provision Theatre Company. Creatively directed by Tim Gregory, “Godspell” is fun, lively and has the audience clapping with the ensemble from the first number “Prepare Ye the Way of the Lord”.

Originated in 1970 by director/writer Michael Tibelak for his master’s thesis project, “Godspell” is the Jesus story based on the Gospel According to Saint Matthew, though it takes place in a modern, urban environment and has dance-craved, colorfully-dressed kids taking on the roles of the apostles. Gregory superbly captures the youthfulness and energy of the original with well cast roles and is also able to successfully convey meaningful messages throughout the series of delivered parables in the midst of humorous punch lines and physical comedy.

Doubling as “John the Baptist” and “Judas Iscariot”, Justin Berkobien excels in both roles thanks in part to a strong vocal performance. While Syler Thomas was aptly cast as “Jesus” bringing a softer and gentler voice to the stage, the ensemble as a whole really brings the show to life. An all-around outstanding performance by Tiffany Yvonne Cox epitomizes the essential of “Godspell”, blending earnest passion with joy, bliss, eagerness and curiosity. Cox strengthens an already strong cast, but is not the only star to shine in this production as each member in the ensemble has something to offer and does so when given the chance during their own numbers.

From the classic “Day by Day” to such songs as “O Bless the Lord” and “Save the People” the live band is every bit as impressive as the cast, also adding sound effects on numerous occasions.

“Godspell” is playing at Provision Theatre (1001 W. Roosevelt Road) through September 26^th. Parking is as simple as it gets with a free sizable parking lot for theatre patrons and, if full, easy street parking just steps away. For more information or tickets, visit www.provisiontheater.org or call 312-455-0065.            

 *Above photo by Ingrid Oyen - The ensemble of GODSPELL rocks out on O BLESS THE LORD, MY SOUL - (front r to l) Sarah Grant, Tiffany Cox, Richelle Meiss, Amy Steele, Jennifer Oakley.  (Back r to l) Greg Walters, Frederick Harris, Kevin O'Brien. 

After a pretty big media sweep in the days leading up to the show, Nelson jogged people’s memories about who they were, are, and want to be in their music. Taking the stage last night at Tailgaters, fans were given the past present and future in a high energy, and fun show.

These smaller venues suit Nelson more than the early stadium rock days, because they seem to be at a level in their careers where making a connection to their fans is more important to them and the music than being part of a huge marketing machine.

It was kind of fun to see the video montages before Matthew and Gunnar took the stage, because things look totally different after twenty years. (Like bright red thigh high leather boots on a dude isn‘t exactly cool…I‘m talking to you, Gunnar. But when I was 12, they were hot and made him a Golden God.)

Yep, you read that right, twenty years since the release of "After The Rain." Thanks to Matthew for bringing that up and making me face the denial that is my thirties. But they had a great sense of humor about it, asking the crowd for a show of hands if they saw Nelson the last time they came through Chicago…then keep them raised if you were 6...

I was 13... do the math… yikes.

And at Friday’s show, all nostalgia aside, there on spotlight, was the songwriting and musicianship that had been glossed over during the whirlwind first part of their career.  Nelson came out and delivered the hits, as well as some new stuff to look forward to.  Despite some audio issues (I thought Matthew was going to whip his monitor at the sound board guy there for a sec), they had a solid sound with great collaborating band mates,  and gave studio quality the whole show. This is not the manufactured teeny bop pop band they were cookie cuttered into 20 years ago. These guys know their way around music, and shouldn’t be overlooked.

I will say, that after catching some of their acoustic shows, that is a genre that fits them like a glove. While the show was great, an acoustic set would’ve been a treat.

So, great show, check out Buzz’s interview with Matthew Nelson , for more info on Nelson’s journey over the last fifteen years.

Set List:

Fill You Up

More Than Ever

A Girl Like That

Love and Affection

Just Once More

Ghost Dance

Evermore

Only Time Will Tell

I'm Alright

After The Rain

Won't Walk Away

Invisible Man

It's All About You

Everywhere I Go

Not a better move could have been made than when Carol Linnea Johnson was chosen for the show’s leading role, “Donna Sheridan”. Recruited from the original Broadway production, Carol IS “Donna Sheridan”.

If you want dancing – amazing dancing, then yes, “Billy Elliot” certainly delivers, and does so with flair, imagination and precision. However, if it’s music you want to take home with you and hum around the house, you might be hard pressed to remember any of it. Despite the fact that Elton John composed the music that was nominated for a record nine Oliver Awards (winning Best Musical), I found many of the songs to be plain and even a bit drab, not to mention over-hyped. But the songs did allow for astounding dance routines.  Elton John, who was present for the Chicago premiere, also gave the fans a thrill when he took to the stage in a tutu during the big finale. 

The story takes place in a small English town where the miners are on strike, causing tension throughout with those who cross the picket lines. Billy Elliot, the 11-year-old son of one of the mentioned striking miners, is expected to find interest in boxing and others boy-like hobbies, but is obsessed with ballet dancing instead. Billy (startlingly played by a rotation of Giuseppe Bausilio, Cesar Corrales and J.P. Viernes). Emily Skinner, a true notable in the Chicago production, plays Mrs. Wilkinson, a dance teacher that works with Billy when she realizes how gifted the 11-year-old is. At first she has to teach Billy in private because his father and older brother, Tony (Patrick Mulvy), are adamantly against him ballet dancing – endearingly called “bay-lee” throughout the show. It is not until Mrs. Wilkinson convinces Billy’s family that he is talented enough to audition for the prominent Royal Ballet School in England that they begin to support his dancing.

Armand Schultz is powerful as Billy’s father and Cynthia Darlow is charming as “Grandma”, as the two veteran stage actors provide a solid presence within the story while showing off their honed singing voices.

There are plenty of things to like about “Billy Elliot” – its touching story, dazzling dance numbers, commanding acting performances, its big-production set, a good share of laughs and even the engaging English accents used throughout. Still, the show was not without its flaws. Apparently, based on its award nominations, I’m in the minority when I stated the music was not very memorable, but I also felt that it ran a bit too long and began to drag. Still the biggest problem for me was the omission of the film’s ending when Billy is shown as the lead in Swan Lake. To me this explains that he was a true standout overall – not just in his small town – that Billy was truthfully exceptional. 

 “Billy Elliot the Musical” might not be as enjoyed by those who have seen the film. However, on the whole, the production is still worth checking out because of its mind-blowing dance numbers alone. But to dub it as one of the best musicals in recent years, if not the best…that would fall a bit short.   

“Billy Elliot” is currently playing at Chicago’s Oriental Theatre. For more information, please visit www.broadwayinchicago.com. 

Porchlight Music Theatre debuts a revival of Stephen Sondheim and James Lapine’s modern classic Into The Woods this week at The Theatre Building on Belmont Ave. Though the show still has its kinks, a snappy pace (crucial for most Sondheim musicals), excellent set design, and some good performances make this iteration of Woods a success.

Into The Woods follows the story of a baker (Steve Best) and his wife, doomed to infertility by a local witch, and inserts familiar characters and story lines from classic fairy tales to create both a parody of the stories we grew up with and a surprisingly moving meditation on wish fulfillment and the consequences of our choices. Jack (of Beanstalk fame), played by Chicago veteran Scott Sumerak, is a dimwitted youth who is sidetracked by giants when tasked by his mother (the funny Kristen Leia Freilich) to sell his beloved pet cow. While his vocal style occasionally teeters uncomfortably between reedy comedy and the power of a trained lead, Sumerak is an expressive actor, is clearly familiar with the beats of the character, and delivers his lines to great effect.   A host of additional characters includes the irrepressible Little Red (Jeny Wasilewski), Cinderella (Rachel Quinn) and her wicked family, Jennifer Tjepkema’s Rapunzel, two mugging princes, played by the multi-talented Cameron Brune and promising newcomer William Travis Taylor, and a narrator (Henry Michael Odum) who unwittingly becomes part of the story.

The Witch is played with hammy gusto and in commanding voice by Bethany Thomas. Thomas’s transformation from hag to diva toward the end of the first act should be a nice surprise for newcomers to the show, and though her acting is not exactly subtle she does a nice job conveying the Witch’s multi-faceted personality.  Though Thomas has (and clearly relishes) the flashiest role in the show, at the heart of Woods (and of this production) is the story of the baker’s wife, played with subtlety and depth by Brianna Borger.  The honesty of Borger’s restrained but emotional turn resonates in a sea of outsized performances, and her simple vocal delivery is powerful but never overwhelms her fellow performers or the poignancy of her character’s journey. Borger plays nicely off of Best’s Baker, and the couple’s comfortable interaction adds believability to the central storyline.   

The technical aspects of the production are mostly solid. Artistic Director Walter Stearns makes great use of the three-dimensional space at the Theatre Building, a particularly notable triumph of stage direction being a climactic exchange between Best and a mysterious man (also played by Odum) who may or may not be his father.  The lighting (designed by John Horan) is superb, particularly in its use of blues and greens in Act II. The spare orchestra, led by Eugene Dizon, effectively communicates Sondheim’s score without getting in the way of the performers, and is creatively embedded on stage behind a hedge – one of many effective aspects of Ian Zywica’s immersive woodland set. The most  striking technical aspect of the show is also the most uneven. Projection designer Liviu Pasare uses a beautiful backdrop of a gigantic full moon to display animation that serves the story. A giant beanstalk grows seemingly from nowhere, Cinderella’s feathered friends flit in and out of frame, and in a particularly ambitious sequence an entire part of a scene in Little Red’s grandmother’s house is played out on the screen. The animation is interesting but occasionally distracting, and its rudimentary nature makes its inclusion in the action of the show feel forced at times. Also, that the majority of the backdrop is translucent makes it difficult for actors to move around backstage without being easily seen by the audience.  

Porchlight’s production will improve with the run and is, on the whole, satisfying. Ultimately, it is the complex music (even for Sondheim) of Woods and unconventional resolution of the story that make the show a must-see. As the second act veers into darker territory, with various choices made to advance personal hopes resulting in the deaths of several main characters, the show (like the original versions of many of the fairytales it borrows from) abruptly turns from light comedy to morality play. The characters and Sondheim’s songs give us a stern warning of the potential consequences of allowing the whimsical stories we tell our children to become our own reality, and though it retains its fantasy setting the show becomes one of the most authentic interpretations of our most basic human dilemmas that the stage has to offer.

Into The Woods runs from April 9 through May 30 at the Theatre Building Chicago. Tickets are available through the box office at (773)327-5252 or at http://www.ticketmaster.com .

Am I the only person who cries during Beauty and the Beast?

Not when Belle and the Beast get together - but when Belle trades her life to save her quirky, inventor father from the Beast’s cold dungeon. I just love this story for little girls. Of all the popular fairy tales offering up Princesses saved by the handsome Prince to young people today, only Beauty and the beast extols the virtues of being a common girl with more book-loving brains that the common folk can stand to appreciate.

I loved seeing all the little girls in the audience thrilling to this colorful and lavish production that really encourages them to be courageous and unique and not settle for either the macho town cutie in Gaston or the brutish untransformed Beast that is unable to express his love for her in a considerate, loving way.

Liz Shivener, as Belle, was lovely in the role with just the right amount of imperious defiance. Justin Glaser, as the Beast had a nice stage presence but seemed a little too nice and not quite princely enough to make us want him to win Belle.

He had some tough competition from Nathaniel Hackman who really stole the show with his very funny, sexy Gaston, the town bully. Hackman, who has solid physical comedy skills under his belt also has a standout singing voice and is definitely a musical theater star in the making.

All of the supporting characters, were quite funny, and warmly played, particularly Sabina Petra's Mrs. Potts.  Some of the great ensemble dance numbers like “Be Our Guest” literally exploded into the excited young audience with canons shooting metallic streamers.  You really can’t miss by taking your kids to see this lavish magical and uplifting production of a classic fairy tale about a smart young girl whose true beauty comes from her brains and deeply unselfish loving nature.