Items filtered by date: November 2007

Having been close with many people with disabilities over the course of my life, I’m often hesitant when it comes to media about such individuals. Too often, books or films or plays dealing with disabilities end up being either demeaning to the folks who have them or cloying and saccharine to the audience. Earlier in this young millennium, I was thrilled to find and read Mark Haddon’s novel, The Curious Incident of the Dog in the Night-Time, a rare tale that falls into neither of these traps. Haddon’s novel became a favorite of mine, its important-sounding title (taken from a line in a Sherlock Holmes story) hinting at the very big steps taken by its protagonist and narrator, a British teen afflicted with autism. And now I can say that the Steppenwolf Theatre’s current stage production based on the novel has become one of the best shows I’ve seen — this year or any other, in Chicago or elsewhere.

In the role of Christopher, said protagonist, is Terry Bell in his first Steppenwolf production. The key to Bell inhabiting the role of Christopher isn’t that he makes the boy’s Britishness real any more than that he realistically portrays autism. No, Bell’s performance is stunning in that he makes Christopher human. While tics and traits are given to the lad, it’s the vulnerability, intellect, and emotion that Bell gives Christopher that made him so real, so human. This was an actual person I saw up there, not a type or a trope or a character. Whether Christopher is doing math, navigating London, fighting with his father, or reading long-lost letters, he is a real boy, not just someone up on a stage.

The rest of the Steppenwolf cast take their duty of realism just as seriously. Cedric Mays plays Christopher’s father as a loving but over-extended parent doing his best to raise his boy. Rebecca Spence, as Christopher’s mother, is heartbreaking as the broken woman who finally felt she couldn’t.

One of my biggest concerns coming into the play was how the first-person narration of the novel would translate to the stage. Would the audience be submitted to one character’s constant exposition? How would Christopher’s story work? Well, thanks to the shining performance of Caroline Neff as Siobhan, Christopher’s schoolteacher, I needn’t have worried. Neff acts as narrator for much of the play, while also acting the part of a nurturing and knowledgeable caregiver for Christopher. If only all children, regardless of their disabilities or lack thereof, could have as loving and caring a teacher as the one Neff has created.

And, as the production has been tailored not just to standard audiences, but to those who share Christopher’s disabilities (and abilities!), with information on the novel and play’s background provided, with discussions led by the cast, and even with accommodating and accessible performances for anyone to enjoy, I can tell you that not only is this a caring play onstage, but beyond the stage, as well.

The Curious Incident of the Dog in the Night-Time is being performed at Steppenwolf Theatre through October 27th. For more information, please visit www.steppenwolf.org.

Before the curtain rose for the start of the Oriental Theatre’s current traveling production of Charlie and the Chocolate Factory, the sole image onstage was a giant silhouette of the character most associated with the beloved tale — a tale told in Roald Dahl’s original novel, in two Hollywood films, and of course now as a Broadway musical — Willy Wonka. Said character, having been famously portrayed by famous folks Johnny Depp and Gene Wilder, has not only long coopted this story of a young boy and a visit to a confectionary facility, but even its title in the Wilder movie. That being said, this tendency to focus on Willy Wonka detracts from what is Wonka’s magical Chocolate Factory and the oddballs and delights within.

So, when the curtain did rise and this particular production began, I was happy to see that it lovingly focuses on Wonka’s whole world. Don’t get me wrong — Noah Weisberg is just fine as Willy Wonka. I told my daughter at intermission that I thought he was perhaps too understated, as I’ve come to expect an overbearing Wonka. That changed a bit in the second act, as Weisberg reminded me a bit of some of Groucho Marx’s Rufus T. Firefly or Captain Spaulding, with his witty asides and exaggerated pacing and prancing. But overall Weisberg stayed out of the way and let the set and his castmates shine.

Henry Boshart is charming as the titular Charlie, providing that rare but happy balance in a child actor that is neither too precocious and polished, nor too amateur. I’d be curious to see how the other two Charlies in this traveling show do, but Boshart does a fine job. His chemistry with James Young’s cuddly yet curmudgeonly Grandpa Joe seems real, as does his connection with Weisberg’s Wonka.

The rest of the cast, however, are allotted the real fun. Jessica Cohen is a Russian Veruca Salt (her father a timely oligarch played by Nathaniel Hackmann), and puts her background as a ballerina to use as she pirouettes and pouts all over the stage. Also timely is Brynn Williams’ social media star, Violet Beauregarde, who’s afforded a dance number of her own. Daniel Quadrino’s Mike Teavee is a modern take on Dahl’s character — an ADHD kid fed a steady diet of screentime and pills from his harried mother. My favorite golden ticket winner was Matt Wood as gluttonous German youngster Augustus Gloop.

But it’s this production’s ensemble that push Augustus and the rest over the top, whether accompanying his polka in leiderhosen and beerhall maid outfits, breaking it down as Violet’s flygirls, or putting on a ballet clinic clad in furry squirrel outfits as bad nut Veruca meets her fate in the Wonka factory’s nut-sorting room. These unsung singers and dancers bring Wonka’s world to life, making it a shiny magical place just as much as the production’s set designers do.

And that set…my daughter, a bit of a set designer her own young self, was amazed at the ingenuity on display at the Oriental. The stacked bed and bedraggled shack where Charlie and the rest of the Bucket family lives. The gates to the chocolate factory. The TV world where Mike Teavee meets his fate. And the Oompa Loompas…

I won’t spoil it, but the portrayal of Wonka’s staff is modern, both in its consideration and its execution. Again, what a set and what an ensemble!

So, if you want a new take on an old favorite, a candy confection, a loving and overall satisfying take on the people and places who’ve done as much as chocolate bars to make Willy Wonka’s name, head to the Oriental Theatre for Charlie and the Chocolate Factory, now through October 21.

When I heard the Charlie Hunter Trio was playing Chicago’s City Winery over this past weekend, I expected something quite different. I was thinking I’d hear the usual fare of guitar, bass and drums – standard trio stuff. Meanwhile, I was sitting with someone that told me to expect guitar, sax and drums. Okay, sounds good. But what we got was guitar, VOCALS and drums. Interesting. I was also expecting something more in the Jazz vein, but I was wrong on that, too. I know what you’re thinking...Jazz has many forms. The Charlie Hunter Trio was a bit more like R&B - and heavily Blues flavored at times.

Hunter does a good job of making you not missing the fact there is no bass player. The first thing I noticed was he had bass notes coming out the guitar. It was a seven-string, but it seemed to get notes lower than that, so perhaps the bass string was tuned down a bit. Then I noticed he was running through two amps. One is a bass amp and one is for guitar. This made me look up his rig rundown today and I discovered that the bottom three strings on his guitar are bass strings, and the top four are guitar strings. There are two pickups on the instrument that allow splitting the bass and guitar strings into separate amps.

This allows a player to do different things. The first and most obvious is playing bass and guitar at the same time. The second is it allows someone to think like a piano player on the guitar. I have had the notion for quite some time that guitar represents the right hand of the piano and the bass the left. This allows a guitar player to do both. You don’t just pick a guitar like this up and start strumming chords on it. This is a bit of a hybrid machine and requires the technical facility to pull the whole thing off. Hunter did an amazing job in doing this. I can imagine at times he wished he had more fingers.

Dara Tucker was the vocalist and she really brought a lot of life to the show. In many ways, Hunter was her support act. Her voice was nothing less than amazing and was a perfect fit with the trio. I later found out she has music available on her own. Damon Grant was Hunter’s rhythmic accomplice on percussion. A very unconventional drummer. He used all different types of percussion to keep the beat alive.

This was not the band I was expecting to see, which taught me a few things. First, keep an open mind about how bands are constructed. Second, that the guitar can be more than just a guitar. In the hands of Hunter, it was much more. I was not disappointed last night one bit. Great show, and it is one I highly recommend, and should they come back – no better place to check them out than City Winery Chicago.

Ask yourself, do you have hope that things can get better? The word itself certainly echoes back to a different political climate in America. Now it seems the very word has been replaced with fear. Jen Silverman’s new play ‘Witch’ is holding its world premiere at Writers Theatre in Glencoe. It’s an update on a seventeenth century tragicomedy but don’t let that fool you, this play has a lot to say about our modern world.

Directed by Marti Lyons, ‘Witch’ tells the tale of the devil coming to a small village. Like all plays concerning Satan, the devil is after souls in exchange for worldly goods or successes of some kind. Ryan Hallahan plays Scratch, one of the devil’s henchman. His wile body language and delivery make him a slick salesman for the master of dark desires. For the villagers already lacking good morals, his pitch is an easy sell. He quickly pits the son of the richest man in town, Cuddy Banks (Steve Haggard) against an ambitious interloper Frank Thorney (Jon Hudson Odom) in a battle for inheritance and land.

This arc serves as the main driver of plot in this 90-minute play but the real meat lies in the battle between Scratch and the town outcast, or witch, Elizabeth Sawyer (Audrey Francis). Elizabeth begins the play with a monologue that asks about hope and explains the mundane cruelties we commit against one another. Francis is captivating. The character is sarcastic and dry. Silverman’s dialogue flows perfectly through Francis’ performance and her emotional reckoning brings about one of the play’s most powerful moments.

Finally, a play about witches that isn’t ‘The Crucible’. Silverman’s script is a lot of fun. It gets to mingle in the 1600s but enjoy the freedom and accessibility of modern dialogue. The contrast is purposeful, asking the audience, has anything really changed? Whether the play is optimistic or pessimistic is really up to the viewers’ interpretation. Either way, there are a lot of laughs here that in the end build to a greater philosophical question. Is change possible or do we have to just start over again from scratch?

If it’s something spooky you’re after, ‘Witch’ will scratch your itch. Though not really a horror story, the intricate production design by Yu Shibagaki gets into the Halloween spirit. Even with the devil, and a supposed witch, this play isn’t really about the supernatural. Rather, it relies on human meanness as the haunting theme, and honestly what’s scarier than that?

Through December 16 at Writers Theatre 325 Tudor Court, Glencoe. 847-242-6000

“A blink in time.” is a phrase repeatedly projected throughout Paula Vogel’s play ‘Indecent’ now running at Victory Gardens. The line could have many interpretations but perhaps it means that the nature of theatre is but a blink in time. Plays are ephemeral, especially where fickle Broadway audiences are concerned. “Indecent” was a critical darling in New York last year and marked the first time Pulitzer Prize winner Paula Vogel’s work had appeared on Broadway. Vogel’s ‘How I Learned to Drive’ was awarded the Pulitzer in the late 90s and is now considered a topical modern classic.

“Indecent” tells the true story story of the ill-fated 1923 Broadway premiere of Sholem Asch’s play ‘God of Vengeance’ —the first Broadway play to ever feature a homosexual kiss. As a result, the entire cast was jailed and deported on charges of obscenity. The play is a collaboration between director Rebecca Taichman (who originally conceived the idea) and Paula Vogel (whom she teamed up with to write the script). Unlike a typical Vogel play, “Indecent” features many musical numbers with instruments being played by the cast. Director Gary Griffin has kept much of the original staging for his production at Victory Gardens.

A hallmark of Vogel’s style is her use of structure and narrative. “Indecent” follows a similar pattern. Its genius is its show-within-a-show charm. The forth wall is often broken giving you the true feeling of being in a vaudeville theater. The small troupe of actors skillfully transitions between the various roles. Though all an all a tremendously talented cast, perhaps nobody stands out as much as Kiah Stern. Her character is the spirit of the play, the reason why in spite of the hardship this cast goes on. There’s something luminous in Stern’s performance. Catherine LeFrere consistently delivers the laughs as Halina.

“Indecent” touches on a lot in its short run time. There’s of course the intolerance of homosexuality and the prevailing antisemitism, but also a history of how theatre became a more established art form in the early 20th century. It’s because of plays like “God of Vengeance” and the like that the theatre has become a place where audiences attend in order to be challenged.

Anyone with a basic knowledge of world history knows that things weren’t looking good for European Jews by the mid-1930s. The tragedy of “Indecent” is that we know what happened to our troupe of actors when they were returned to the old country. One of the show’s most powerful moments is when the cast gives the final performance of “God of Vengeance” in the Lodz ghetto.

Vogel is great at non-traditional storytelling. The show is unlike any play or musical recently seen on Broadway. Its subject matter also holds a mirror up to Broadway. It asks who censorship protects and ultimately what we classify as entertainment. Director Gary Griffin’s highly anticipated regional premiere is worth the hype as this show will likely not be produced again to such high standards.

Through November 4th at Victory Gardens Theater. 2433 N Lincoln Ave. 773-871-3000

Wow…one more time…WOW! This is one gifted trio and is such a pleasure to watch live. Harold is one of the younger generation Cuban Jazz pianists on the scene. Cuba has had a reputation for delivering some fine Jazz musicians, even though they are less known here in the states. We can thank the Cold War for that. Thankfully that is over. The doors are open again and we need to realize that the best things coming from Cuba are not cigars and rum. Those are nice too, but man…the music is incredible!

Harold is a piano player who has the chops of a Classical player. He also has the rhythmic sense of salsa in his soul. He took this rather student-model looking upright piano and made it dance, baby. A while back I envisioned the piano as a drum set. It is by far, the best harmony instrument out there…but there is a reason why it is often described as a percussion instrument. Rhythm is infectious. It makes you dance, move, scream, etc. The pulse should affect the listeners heart rate. Rhythm controls you. Harold Lopez-Nussa was in command of this, but he did have some serious help.

Younger brother Ruy Adrian was on drums. This young man is one of the finest drummers I think I have ever seen in my life. I am by no means exaggerating. You could isolate the drums and it would be a show. His playing was never overstated either. He played exactly what was needed, which at times was a lot. The music demanded a lot of rhythmic interpretation. Harold’s piano playing already has a ton of rhythmic diversity, the drums added another layer. Watching him play the cajon made my hands hurt. He really put everything into his playing.

Gaston Jova played upright bass. He was described as a “brother from a different mother.” That is a cliché, but I feel that is how the group functions. They are very much a musical family. Gaston is the laid back, jovial kid brother. His playing was very relaxed but very commanding.

Old Town School of Folk Music is such a great resource in the city of Chicago. Not only do they provide education, but entertainment as well. This was in the smaller hall on the east side of Lincoln Ave. This provided a warm, intimate setting. It was general admission and since I was there early…guess who sat in the front row? If you guessed me, put yourself down for a shiny gold star! I was less than 20 feet from someone many consider truly on top of his game. This young man has a serious musical future ahead of him. Take note.

What a fun band! Carl Finch has been leading this band since 1979 and they have achieved a cult status to some people. This is the band that played David Byrne’s wedding. I would describe them as a polka hybrid with a great sense of humor. Having said that, they are no joke...they are a very serious band.

It is time for Oktoberfest so why not celebrate with a polka band, right? Seems appropriate. The band, Brave Combo, hails from Denton, Texas. They are actually not really just a polka band. They blend a lot of genres into a melting pot of entertainment.

Carl Finch leads the band, but they don’t really have a front person, per se. Rather, it is truly a group effort. Finch plays keys, accordion and guitar as well as handling a chunk of the vocals. He also wore a rather festive red hat and looked like he was the time of his life on stage.

Bubba Hernandez is the bass player. He is a long-time member but has actually been in and out of the band. He is one half of a very strong rhythm section. He also handles vocals in both English and Spanish. The other half of the rhythm section is drummer Alan Emert Mansfield. Very solid and dynamic is how I would describe his playing. Finch couldn’t ask for better support.

Jeffrey Barnes was on sax, clarinet and flute and helped out with some vocals too. I heard some vintage licks of all types from Barnes. I think his strongest voice was the clarinet, followed by the tenor. Funny how I always thought clarinets were always these squeaky instruments of torture. They just need to be played in the right hands.

Danny O’Brien on all things brass related rounds out the lineup. He looked the part of an Oktoberfest celebrant. He also played some nice horn licks. He also had a great hat.

Beer mug holding contests were also part of the show, Bubba clearly the winner (Finch cheated a bit). Great show, but the crowd was small and the sound also could have been better. The vocals were buried in typical Chicago Metal Club fashion. Here’s a clue for soundmen in Chicago…let’s hear the vocals! Ugh…this seems to go way back in history of clubs here. When you are not mixing a Metal band, and the singer isn’t screaming…turn him or her up! Part of the reason they are screaming is the fact that you have the drums and bass too loud!

Rant over. It was great show that should have had been better advertised. This is a band that has a strong cult following and should have packed the room. So, keep an eye on the local music calendar and go see Brave Combo. And don’t forget to support live music whenever you can.

I was so excited to see this production of " Sweet Charity" partly because I remember Shirley MacLaine’s spectacular dancing in the film version of this very funny Neil Simon hit play. 

The main character Charity Hope Valentine, played with pizzazz by Anne Horak, is a dance hall girl who falls for all the wrong guys. Charity literally falls, as she is actually shoved into the water by one of her money grubbing "boyfriends" as he steals her purse before exiting her life. Anne Horak has all the charm and naivete of the original character and gives the play that breath of fresh air quality that keeps the audience from thinking that Charity is purely a victim of circumstance who is not smart enough to save herself from the predators that she and the other pay to dance women must fight off while dancing. 

Many of the girls are tempted into prostitution though the dance hall to make enough money to survive in the city, but Charity staunchly refuses to give in and keeps looking for her "husband and life in suburbia" by taking a self-improvement class at the YMCA. There she meets a funny, neurotic and at first kindly seeming fellow, played with scene stealing physical comedy by Alex Goodrich. 

Charity also meets and is befriended and told how special she is (but not molested) by an Italian movie star (Adam Jacobs) where she gets to deliver that trademark song from his hotel suite "If My Friends Could see me Now!" 

What is super interesting and modern about Neil Simon's script is that in the end, even the "nice guy" admits to Charity that if given the chance he will turn on her emotionally and ruin her life with his critical and jealous nature regarding her physical beauty and job as a dance hall girl - which could be compared with being a stripper in today's terms. 

But Charity, who has searched for love high and low, does not wallow in a depression nor does she attempt to kill herself. Rather, she picks herself up and begins again to live with Hope, which is after all, her middle name!

Bob Fosse's amazing choreography is spectacularly preserved and brought to life by choreographer and director Alex Sanchez and a highly GIFTED ensemble of dancers in all of the numbers especially 'Big Spender" and the jaw dropping "Rich Man’s Frug". The dancers; Terry Hamilton, Joe Bigelow, Elyse Collier, Lexis Danca, Alex Dorf, Alejandro Fonseca, Eben K. Logan, Hanah Rose Nardone, Adam Rogers, Laura Savage, Alex Smith, Kyra Sorce and Jessica Wolfrum - ALL deserve a mention by name. This dance ensemble moving in the demanding, super sexy, exquisitely detailed Fosse style arrogance while holding their long cigarette holders with their upturned noses in the air nearly brought the house down.

The entire cast's costumes were superbly designed with great eye-popping color and rich textures by Mieka van der Ploeg that really captured the mid-late 1960s as it transformed to a fashion with bright, swirling colors from the drainpipe jeans and capri pants that were so popular earlier in the decade.

I highly recommend this funny, engaging and uplifting production which is full of great comedy, song and dance and still memorable classic Broadway hits such as “Hey, Big Spender” delivered with real class throughout. 

“Sweet Charity” is being performed at Marriott Theatre through October 28th. Visit http://www.marriotttheatre.com for more show information and times.

Mozart’s Requiem

Music of the Baroque Chorus and Orchestra

Jane Glover, conductor

William Jon Gray, chorus director

Saturday, September 15, 2018, 7:30 PM at the Harris Theater for Music and Dance, Chicago, and Sunday, September 16, 3:00 PM at the North Shore Center for the Performing Arts, Skokie

                                                                                                                                                                                                                                                                 Photo by Elliot Mandel

A Regal Beginning and a Divine Ending

By the OperaSwains

A capacity audience warmly welcomed the Music of the Baroque Chorus and Orchestra and A-List cast of soloists on the opening night of its 2018-19 season at the Harris Theater, led by Maestra Jane Glover, in an impeccably well-crafted performance of one of classical music’s crown jewels, Mozart’s glorious Requiem Mass in D minor, K 626.

The program began with three anthems by George Frederic Handel written in 1727, more than a dozen years before composing his great “Messiah”, as Handel was becoming established as the preeminent British composer of his time, for the Coronation of the Hanoverian King George II and Queen Caroline.

In a brief, inspiring podium speech, Ms. Glover sparked a human touch to the evening by inviting us to imagine ourselves in Westminster Abbey for that regal occasion among the soaring arches and stately long nave which has been the scene of countless Crown events, setting the scene for us to be part of something important.  As the music began quietly and swelled, she had us.

The pageantry of “Zadok the King” was followed by the more intimate “My Heat is Inditing” (from Middle English - not a typo), with “The King Shall Rejoice” concluding the set.

The talented ensemble played cleanly and with spirit; their understanding and love of the baroque style apparent throughout.  The chorus, ably prepared by William Jon Gray, sang with musical clarity, if not clarity of diction.  The stellar tenor section was especially impressive in astonishingly accurate coloratura passages – Bravi, gentlemen!  The sopranos were silvery, at times ethereal, while the altos provided soothing warmth.  However, we wished for substantially more weight from the basses, often swamped by the low strings.  Less emphasis on the modern obsession with “blending” and greater emphasis on pure vowels would not only improve diction, but also give the chorus a fuller, more complete adult sound.

Following intermission, the chorus and a full Mozart orchestra returned for the Requiem with soprano Amanda Majeski, mezzo soprano Daniela Mack, tenor Joan Hacker and Bass-Baritone Eric Owens.  A few more choristers would have been welcome, because at times they were overwhelmed by the orchestra.

If the term OMG! wasn’t already a part of our current lexicon, it would be necessary to invent it for Mr. Owens’ performance. OMG!! He possesses the gravitas and commitment of a truly great singer. Listening to Mr. Owens is like hearing the voice of humanity, or perhaps, tasting a 50 year old Scotch. The wondrous, trumpet-like sound of his “Tuba mirum spargens sonum” spreading through the hall was one of those rare heart-stopping moments in a live performance that will not be forgotten. To ice the cake, Mr. Owens is capable of a delicately tender pianissimo usually unavailable to other voices of his dramatic weight. We can’t wait for “Siegfried” at the Lyric!

Tenor Jonas Hacker’s burnished, clarion tenor brought much more to the role than what is generally expected from a “Mozart tenor”.  It may be that standing next to Mr. Owens, he was inspired to greater heights, as his engaged and direct singing just became better and better throughout his performance. We hope to hear much more from him in the future.

No such luck on the other side of the stage; Ms. Mack’s rich, clear voice met the demands of the alto role, but the part doesn’t give an opportunity for the singer to make much of a mark.  However, she did look fabulous in her red and gold brocade strapless gown, and one could easily imagine her as a spunky Rosina or a smokin’ hot Carmen.

Beautiful voices, as the great vocal coach Peyton Hibbitt used to say, are a dime a dozen, but an artist is someone who engages the audience and communicates something.  Anything.  At the very least, the intent of the composer and the librettist.  Ms. Majeski brought nothing but her beautiful instrument to the soprano soli. 

Ms. Glover has a great command of the dynamic possibilities of an orchestra, exquisitely rendered by the gifted musicians.  The performance was enthusiastically received, albeit with the perfunctory, up-trickling, standing ovation (Ladies and gentlemen, if you can’t help yourself from instantly jumping to your feet when the piece ends, don’t bother standing until you are ready to leave…).  Nevertheless, we all were grateful for an excellent performance by this gem of the Chicago musical scene.  Get your tickets now for the remaining performances of the season, which includes Bach’s Christmas Oratorio and Coffee Cantata, among many other treasures.

For tickets call (312) 551-1414

www.Baroque.org  

Catchy songs, hilarious characters and a man-eating plant. Little Shop of Horrors now playing at Drury Lane Theatre in Oakbrook has it all. With music by Alan Menken that fall in the style of 1960s rock and roll, doo-wop and Motown, we get a soundtrack that helps deliver this humorous story, perfectly enhancing writer Howard Ahsman’s vision into what became a stage and film sensation in the 1980s. Songs like "Skid Row (Downtown)", "Somewhere That's Green", and "Suddenly, Seymour" are as kitschy as they come as are the characters in this far-fetched, but seriously funny story.

We find ourselves in a local plant and flower shop – “Mushnik’s”. Business is bad and owner Mr. Mushnik is not sure how he can hold on for very much longer. His two employees, Seymour and Audrey, stand around all day with nothing to do since there is – nothing to do. But Seymour has a secret. He has been experimenting in the shop’s basement on a plant that resembles a Venus Fly Trap. But it is no ordinary fly-eating plant, it is much larger and quite unusual looking. He finally brings the plant upstairs and suggests it be placed in the store window to possibly attract passersby’s. Mushnik scoffs at the notion but figures he has nothing to lose – and wouldn’t you know it, a man enters the store within minutes to purchase a hundred dollars’ worth of roses. The plant becomes a sensation as it gets larger and larger by the day, business is off the charts and everything seems rosy for the once struggling shop. But what makes the plant grow so quickly? We soon find out and a whole world of absurdity and suspense is opened. Twists and turns ahead, folks.

At the same time, Audrey seems to show up to work each day with a new injury. It is suspected that her boyfriend, a sadistic dentist, is to blame – and Seymour won’t have that. He has a crush on Audrey and has in fact named the plant Audrey Two. As the story progresses, it becomes crazier and crazier – silly but engaging. A trio of talented singers (Melanie Brezill, Candace C. Edwards and Melanie Loren) help narrate the story, also switching back and forth between roles.

Will Lidke is terrific as Seymour and is as nerdy as one could get in the role while Kelly Felthous as Audrey nails the squeaky-voiced, ditzy blonde stereotype, ala many a Marylin Monroe role. Both deliver great comedic moments and are truly fun to watch. Ron E. Rains is well cast as Mushnik and has plenty of key moments, as well. But it is Chicago acting veteran Steven Stafford who steals many of the scenes as the abusive dentist (also playing many other roles), displaying epic comedic line delivery and perfectly timed physical humor. The voice of the plant (yes, it talks – and sings) is beautifully done by Lorenzo Rush Jr. while Matthew Sitz takes on the tough task of bringing the plant to life.

A light, though twisted, story with a slew of laughs and one likeable song after another is the prefect way to kick off the Fall season. Together with brilliant direction and choreography by Scott Calcagno and musical direction by Roberta Duchak, the musical’s superb performances and an amazing set design do this funny classic the way it should be done.

Highly recommended.

Little Shop of Horrors is being performed at Drury Lane Theatre through October 28th. For tickets and/or more show information visit www.drurylanetheatre.com.