Items filtered by date: November 2007

Northshore Center for the Performing Arts in Skokie was host to yet another spectacular Elvis Presley birthday celebration, The Elvis Tribute Artist Spectacular. This time celebrating birthday number 80, there was even a more special air around the theater. Fans filled the seats to capacity and sat back for a nostalgic trip to yesteryear when Elvis was king. Going through Elvis’ history in chronological order, we were able to experience a career first hand had by no other.

After warming up the crowd with a few numbers by The Blackwood Quartet, one of Elvis’ favorite gospel groups, Cody Ray Slaughter and Ryan Pelton took turns performing as Elvis from the mid-1950s through the movie years that spanned through 1968. Not only did the young Slaughter have all the early Elvis moves down to a science – arms swaying rhythmically about and feet immersed in fancy footwork to the beat, but his voice and subtle mannerisms were so dead on it made the illusion highly believable the moment you let your guard down.

It was nice to also hear so many songs that were not from the popular hits catalogue. With a nice selection from the movie King Creole (title track, “Hard Headed Woman”, “Trouble”, “Crawfish”), Viva Las Vegas (What’d I Say”, “C’mon Everybody”), G.I. Blues and a few other fave Presley films, we were met with a well-rounded Elvis spectacular that the truest of fans certainly enjoyed. We were also treated with the hits that made Elvis…well, Elvis. From “Heartbreak Hotel” to “Teddy Bear”, it was a true Elvis musical feast.

Not only was each performer backed by a full band complete with a horn section, but original Elvis drummer D.J. Fontana took to the stage to play along on the first few songs. And though the 83-year old legend may have lost a step or two, he sure hasn’t lost the beat. Also, performing backup vocals besides The Redwood Quartet were the Sweet Inspirations including the great Estelle Brown who sang with Elvis from 1969 through his untimely death in 1977. The absolute thrill to witness the performance of two Elvis bandmates was simply breathtaking.

After a brief intermission the show recreated an early 1970s Elvis concert. Here we hear the later Presley classics like “In the Ghetto”, “The Wonder of You” and opening number “See See Rider” brilliantly performed by Shawn Klush decked out in a white, high-collared jump suit. Almost like a second show in its own right, the hour-plus set was an energized one as Klush also gave an animated performance of “Suspicious Minds” before ending the show with the appropriate “American Trilogy” to the lowering of a giant American flag behind the performers.  

The Elvis Tribute Artist Spectacular was an amazing show despite a near tragedy when a stack of amplifiers fell onto the drummer’s leg (not D.J Fontana). After a few minute timeout, he was helped off stage while one of the guitarists filled in on the drums, but later returned after the intermission.  

This is a highly recommended show – a show that Elvis himself would be proud of.

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Holidaze really is like nothing you’ve seen before, especially during the traditional Holiday season offerings like The Nutcracker. The international cast members from many countries including Italy, Mongolia, Asia, Ukraine, and Ethiopia were extremely gifted in each of their unique disciplines. The magnificent Chicago Theater was a perfect venue for such a show.

The sister contortionists, aerialists, silks artists, chair stackers, and clowns all did so many different things all at the same time onstage and in the air that  it was difficult to really take it all in! 

One dancer did a balancing and juggling routine while lying on a slanted bench where at one point she literally was doing a different and independent action with each of her four limbs, Her right foot was twirling hula hoops, while her right foot balanced a rolling boll, her right hand was juggling and her left hand doing some other equally amazing task. This and all the acts really make you realize what an awesome creation the human body is and what seemingly miraculous feats it is capable of with the right talent and cultivation.

The costumes were for the most part spectacular but occasionally I thought they went a little too comical (reindeer unitards and old Mrs. Santa Claus) instead of balletic and took some of the dignity away from what were amazingly graceful and dignified performances.

Also the hypnotic, repetitive music soundtrack needs an updating as it gave everything kind of a 1990’s Euro-House Music feel that was dazzling at first but became a little overwhelming and confusing by the end of the first act.

One other note I have for the producers of this particular cast is the presence of a very young, tiny aerialist/ballet dancer who appeared to be about 6-7 years old. She was a brilliant ballerina who could very easily be playing the lead in The Nutcracker, but in this show she was trussed up in a very strange halter type contraption and pushed around the stage by a man on stilts. I felt very uncomfortable watching someone so young performing this way and doing contortionism at all when her body is so flexible because it is still forming.

To make sure I was not overreacting, I leaned over to a friend and asked what he thought and his first response was, “Creepy! Like watching child abuse!”  I agree, this act needs to be placed on the ground like the other young 9-year old dancer in the show and re-costumed as children should never be costumed in something that even resembles a restraint of any kind.

Other than that this was a refreshing and spectacular night of amazement, suspense and bursting at the seams with psychedelic Christmas colors and lighting effects that I will never forget. 

Almost as funny as it is tragic (that sounds so wrong), The Ruffians’ Burning Bluebeard, currently running at Theatre Wit, is a very unique live performance that everyone should experience. Bluebeard is an ensemble piece that recreates the stage performance that took place during the famous 1903 Iroquois Theater fire that claimed over 600 lives on Randolph Street in downtown Chicago.

The moment we enter the stage area, we are met with body bags that lie on a charred theater floor. It is a melancholy scene that sends chills up one’s spine. We soon are introduced to five stage performers and a theater manager who each tell their story of what they were doing at the time the fire struck. This happens in between the recreation of acts leading up to the tragedy. During this process we laugh and laugh some more. How can there be something funny found in something so disastrous? Masterfully, playwright Jay Torrence is able to infuse a dark humor throughout this tragic historical event. Each character delivers a knockout performance drawing laughs at will from the crowd one moment and bringing tears to one’s eyes the next.

One of the year’s best, this show is like no other.  Its vivid descriptiveness relates to the audience to the point you really feel you know the characters and are experiencing the tragedy along with them. Grim and morose is the story though comical are many of the surrounding facts such as the Mr. Bluebeard itself, the massively produced play with over four hundred cast members that was running at the time of the great fire. A play that hardly made any sense and depended on large visuals, an overload of song numbers (nine songs in first act alone) and dazzling acrobatics.

We are described beautifully the stunning details of the sixteen hundred seat Iroquois Theater, a majestic auditorium with no costs spared during its creation that was touted as fireproof just as the Titanic was called unsinkable nine years later. The sad truths are slowly released whereas mostly women and children were in attendance at this standing room only matinee performance, and that the theater was nearly escape proof once the fire erupted.  

Wonderfully directed by Halana Kays, Burning Bluebeard makes exceptional use of its limited space, successfully creating the illusion of a much larger scaled production. Ensemble members Pam Chermansky and author Jay Torrence lead the way delivering mesmerizing performances in this multi-talented and very colorful cast with Anthony Courser, Molly Plunk, Leah Urzendowski and Ryan Walters. And thanks to imaginative costume design, we have no problem believing we are present at a 1903 production.

In Burning Bluebeard we are treated to a rare flavor of theatre that is sure to leave a lasting impression. 

Steppenwolf Theatre’s Airline Highway focuses on those who are mostly forgotten, unseen or unfortunately, even looked down upon by many. In this case the story revolves around a group of outcasts who inhabit The Hummingbird Motel in New Orleans that have come to call themselves “family”. Each comes with their own heartbreaking story or unfortunate set of life circumstances that has led their way to become motel dwellers. Mostly scratching and clawing for another day of food and/or shelter, audience members are face to face with a reality that is mostly hidden, or conciously forgotten, from our daily lives. We inevitably see the caring that is shared amongst each other in such a group and realize that a self-made family of “invisibles”, as they are referred to, have the same hopes, dreams and capacity for love, whether giving or receiving, as anyone else.

As one walks into the theatre they are first met with a highly impressive set that recreates an aging motel with brick façade complete with an office, large vintage stand up sign (perhaps 1950s) and a litter-filled parking lot that one could swear is actual concrete. We see a stairwell, several room doors, an abandoned Honda Civic and a backdrop of an evening sky. As the play progresses we are introduced to one colorful character after another – a laid back office manager, an enthusiastic hippie who considers himself a poet, a vibrant transvestite, an maturing hooker, a stripper who idealizes about having an office job and a handyman who is always trying to make a buck by offer to make repairs around the motel.

It is soon uncovered that the group is planning to throw a party for Miss Ruby, a near death elderly resident who once owned a famous strip club and has also taken her share of wrong turns in life. But this is no ordinary party –it is a funeral – a living funeral. It was Miss Ruby’s request to have a send off while still alive. As the party is being put together, we learn many revealing aspects about the past of each resident. We also see a family bond that rivals most. When Bait Boy returns to attend the party (now considered somewhat successful by the group’s standards), another dimension is added to the group’s dynamic. Adding to his questionable homecoming, Bait Boy, now “Greg”, brings his girlfriend’s sixteen year-old daughter who plans to interview the “subculture” for a high school paper. This is unsettling for some of the Hummingbird residents.

Airline Highway can be funny at times and it is often moving. A slew of wonderful performances by K. Todd Freeman as “Sissy”, Kate Buddeke (“Tanya”), Caroline Neff (“Krista”), Scott Jaeck (“Wayne”) and Gordon Joseph Weiss as the eccentric and loveable “Francis” make this story as believable as it is enjoyable. It is hard not to appreciate every privilege we have experienced in life after seeing this production. Maybe it’s a few bad decisions or perhaps it’s a couple runs of bad luck, but in Airline Highway we see that anyone is susceptible to conditions that can make a life spiral downward. We also see displays of strength, love and courage. There are times we simply envy the closeness of the group and the protectiveness they have for each other.

Flowing at a pace that allows everything to develop with its own organic freshness, Airline highway is a delightful story that brings strong personal ties to the forefront and recognizes the fact that families come in all shapes and sizes, connected by blood or not.

Brilliantly directed by Joe Mantello, Lisa D’Amour’s Airline Highway is playing at Steppenwolf Theatre through February 8^th, 2015. For tickets and/or more information, visit www.steppenwolf.org or call 312-335-1650. 

*Above photo: (left to right) Carloyn Braver and Carloine Neff

*Below photo: The cast of Airline Highway currently being performed at Steppenwolf Theatre (1650 N. Halsted)

 Homeless at the turn of the century, New York City newsboy Jack Kelly is a big city boy dreaming of a life of small town contentment far from the struggle of the streets. But when newspaper magnates Joseph Pulitzer and William Randolph Hearst decide to raise the distribution price paid by the newsies, Jack finds his heroic nature pulled into rallying newsboys from across the city into the battle that ultimately became the beginning of the child labor movement.     

From real-life event to book, and then to a 1992 film starring Christian Bale and Bill Pullman, this production is surprisingly the first adaptation for the stage. Although initially intended for a short run off-Broadway, dedicated fans called “Fansies” pulled a twitter takeover to propel this show to a national tour.

A three ring circus comes to mind as three massive towers turn around the stage, crawling with strong young men singing their hearts out about love, ambition and the struggle of the streets. Fantasy and reality combine as projections flash across the screens, and the Tony award winning choreography fills the space with precision and gusto.

Although replete with high flying kicks, acrobatics and precisely executed spins, I found the dancing too pretty. The rough and grimy nature of these boys from the streets did not translate into the ballet moves sprinkled with Broadway flair. Perfection became boring, as no dancer stood out. This is a show on tour, however, and so compromises may have been made between choosing the touring cast versus the original Broadway cast.

Fans of the movie will notice some major changes in the characters as well as minor ones in the storytelling. Thankfully all of the major beloved songs such as “Carrying the Banner”, “King of New York”, “Santa Fe” “Seize the Day” and “Once and for All” are still featured in this adaptation and are more enjoyable than ever! Alan Menken teamed up with Jack Feldman to add a few more songs to their score, and won a Tony award for their work. The songs serve well in tightening up the story that occasionally drags in the film.

The biggest change in character is that of the reporter who brings the newsies’ strike to public attention. Played by Bill Pullman in the film, the reporter has been merged with Jack’s love interest and is now played by Stephanie Styles. The Disney influence shines through most strongly in this character, as she is the essence of the modern Disney princess, here trying to make her mark in the newspaper business, an insurmountable task in Victorian America. Spunky and sweet, this new banner carrier for Jack’s cause is a delightful change from the limp accessory tacked on as a love interest in the film.

Younger viewers will appreciate the perspective of Les, the littlest newsie, who has more guts than the biggest of them. Sassy and hilarious, Les, played alternately by reflects the current generation with perfection.

A subtle yet effective character change lies in the casting of Angela Grovey as Jack’s ally and cabaret singer Medda Larkin. Played by Ann-Margret in the film, Ms. Grovey gives this role an entirely new flavor reminiscent of Queen Latifah’s boisterous role as the entertaining prison matron in the 2002 film “Chicago”. A breath of fresh air in this period tale, I instantly felt Ms. Grovey was speaking to the audience, bringing us in to the story as if it were our own. Her vibrant presence, strong voice and comic wit invite the audience into the surprisingly modern struggle.       

Broadway in Chicago presents Disney’s “Newsies” through January 4, 2015 at the Oriental Theatre. Tickets range from $40-$130 and are available by calling 800-775-2000 or online atwww.BroadwayInChicago.com. For more information on the show visit NewsiesTheMusical.com/Tour, Facebook.com/Newsies and Twitter.com/Newsies.

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Oriental Theatre - From the opening of the show when Chicago actor Ed Kross comes out and explains in a perfect 50’s TV announcer voice that we are all at a live taping of the Lucy Show back in 1952, I was captivated.

Two real episodes of the show were purchased for this production, “The Benefit” and “Lucy has her eyes examined.”  I thought both episodes were perfectly chosen not just for their comedic effect but because they showed clearly how far ahead of her time Lucille Ball and her husband Desi Arnaz were by creating the three camera filming process and Lucy being the first female studio owner, way, way ahead of their time!  I adored the bright, honest yet sardonic tone of the antics of the ensemble who lovingly recreated the between scene period TV commercials for classic products Brylcreem and Alka Seltzer.  Rick Sparks staging is spot on and is very fun and exciting to watch as the entire cast and crew move seamlessly from introducing the show to setting off the applause sign for us , the live studio audience. It really felt like we were transported back in time to 1950s Los Angeles and were waiting breathlessly to see these two huge iconic stars in the flesh for the first time.

Lori Hammel as Ethel and Kevin Remington as Fred Mertz were very funny, very well cast and true to their characters. It is interesting to note that the real Vivian Vance playing Ethel originally objected to the 20 year plus age difference between her and her TV husband Fred! I always wondered why her husband was so much older and less attractive than the handsome couple they were best friends with but that was pretty typical for the time period.

Thea Brooks did a fantastic job playing the most difficult role in this show. Brooks really captured the absolutely brilliant physical comedy and genuine dancers grace with which Lucille Ball (originally a Broadway quality dancer) was able to bestow upon female comedy timing in a world which had yet to enter fully in the women’s movement at all.

The  wonderful, best friends forever interaction between Lucy and Ethel reminded us that Lucy was also ahead of her time not only by marrying interracially, but Lucille Ball  was also the first champion of long lasting, devoted, female friendship, now referred to as “chicks before dicks!” at a time when both issues were severely frowned upon and questioned by society.

Euriamis Losada as Ricky blew audiences away with his eerily accurate portrayal of Ricky Ricardo’s movements and voice! Every single line of comedy and each line of his musical numbers were so like the original I occasionally squinted my eyes and felt I could see Lucy and Desi standing on the stage.  These two performances were so difficult and required much attention to detail by Brooks and Losada, yet they pulled it off without bordering on caricature or parody regarding these two beloved superstars. Thea Brooks and Euriamis Losada displayed real STAR turns in this production and I can’t wait to see their future incarnations on Broadway in other productions.

I only have two notes for this delightful and thoroughly enjoyable production. It would have been nice if instead of the “game show break” utilizing an audience member and plant in the audience which separated the two episodes, Sparks had just allowed us, the studio audience, to take a ten minute intermission. Also, I would have loved to see a single behind the scenes scene between Lucy and Ricky AS Lucille Ball and Desi Arnaz, to peer into that break from the fantasy of the show to the reality of their rocky but ground breaking marriage. It would have been very special to witness indeed and have allowed Losada and Brooks to peel back and show yet another layer of these two magnificently complicated performers in their own time period.

I highly recommend seeing I Love Lucy Live on Stage at the Oriental Theatre with your whole family to bring back the love and simplicity and also the hysterical hypocrisy of the time period that many of us grew up watching and loving. 

The show has been over for hours and the adrenalin is still running through your body. Your ear to ear grin was proof that you had a great time. Styx played The Venue at Hammond, Indiana’s Horseshoe Casino and the show was just incredible. They brought along a baker’s dozen of ditties and they hit you right between the eyes with every single one.

They opened up with the title track from the album that bought them their first airplane, “The Grand Illusion.” It was the first offerings and it was a perfect way to kick it all off. They took the song and performed it very close to the original recording. Lawrence Gowen nailed the difficult vocal line with ease as he is just a natural performer.

“Too Much Time on My Hands” was second up in line and Tommy Shaw decided to keep the bar raised high. The man can sing, he can play, and at any point during your ninety minutes together you think he is not pulling his weight, you better guess again. Tommy just keeps ripening as a musician as time goes by. His guitar work is such a sweet contrast within the hard rock guitar riffs of his counterpart.

Out comes the acoustic for the next one, “Fooling Yourself.” Tommy takes a minute to announce their original bass player, Chuck Panozzo. One of the only three surviving original members of the band was there with a shiny red P-Bass in hand to help bring you back to the classic Seventies hit. For so many, it was like being in fourth grade again.

A Styx show would not be complete without hearing songs like “Lady,” “Light Up,” and “Crystal Ball.” The godfather of Styx, James (J.Y.) Young, always provides heavy guitar riffs at any possible chance and the song “Miss America” is no exception. The monster six string guitar-slinger has licks that will rival so many of the greatest players in rock music. His vocal harmonies are heard within each song and he is just a huge part of the Styx sound. He has just been a consistent player ever since he first came along for Styx and took the reins in the early days.

The highlight of the concert for so many was, “Lights.” This great pop song was a surprise when they graced the concert-goers’ ears with the superb melody line. The deep track just made the day of the fans who bought more than just a few of their albums. The piece off of Cornerstone was awesome to offer up to the long time fans. They were very appreciative.

Ricky Phillips performed his musical duties providing the bottom end on bass needed for this mid-western band. Ricky is a very diverse musician and he will switch over to guitar when Chuck Panozzo comes out to play bass.  The previous bands Phillips was in made a mighty fine decision when selecting this guy to be a part of them. He is a top notch player and is always a pleasure to watch him perform.

The rumblings throughout the concert hall were coming from a double bass drum kit and the master percussionist, Todd Sucherman. Since the Return to Paradise tour, this guy has been there for Styx hitting the mark on every song. He gives the band a heavier feeling at times than what they were in the heyday. This guy is just a fantastic rock drummer.

“I am the Walrus” was covered by Gowen from behind his spinning keyboard. It’s always a bold move covering bands like The Beatles, but Gowen and the rest of Styx provided a version that some of the biggest fans of the fab-four would be happy about. As the song came to an end, right away the keyboards again chimed in as they just tore into “Blue Collar Man.”   

Lawrence took everyone for a stroll down classic rock’s memory lane with a medley of songs. He sang parts of songs by Billy Joel, The Rolling Stones, Paul McCartney, and Queen. He got everyone’s attention when he did parts to “Piano Man” and “Bohemian Rhapsody.” His fingers went into quick arpeggios and gracefully rolled the digits into another classic rock hit, “Come Sail Away.”

The band quickly leaves the stage to make the audience go through the ritual of screaming for them to bring them back out. The encore was just what was needed to bring the show to a close. “Rocking the Paradise” was first up as the confetti cannons went off showering the front rows in red, white, and blue. Everyone knew the last one in line had to be that great vocal song “Renegade.”

The show was complete, the songs were done, and we were now at the end of the show.  Guitar picks were flung out toward fans and drums sticks lobbed out almost with precision. One thing is for sure this band knows how to put on a high energy rock show. The band left the stage leaving most fans wanting more, as we always do. Their choice of songs was perfect for the crowd, but a baker’s dozen of hits was not enough for so many. We must always remember; they are only human.

As the adrenalin finally starts to completely leave your body after a great concert and you slip back into sleep thinking of the show you had just seen. It was just an amazing time seeing Styx at The Venue at Hammond, Indiana’s Horseshoe Casino. The ear to ear grin is proof you had a great time. 

*Photo by Roger Reis

Slide guitarist Sonny Landreth and steel guitarist Cindy Cashdollar shared the same stage in a mostly duet performance. Sonny opened the show solo for four songs. He was then joined by Cindy Cashdollar.

Mr. Landreth’s performance was not disappointing. His playing style is quite unique. He wears the slide on his pinky finger unlike most players. This allows him three free fingers. He uses them to fret notes behind the slide. He can also switch between fretted and slide notes. Nobody really does this quite like him. Cindy played 3 different types of steel guitars lap style.

Landreth provided vocals on about one third of the songs, the rest instrumental. It was mostly original material with a few tasty blues covers. It was very nice to see two seasoned veterans at work. Sonny was in Joan Hiatt’s band a while and has shared the stage with Eric Clapton and a host of others.

Cindy’s credentials are too numerous to mention and was inducted into the Texas Steel Guitar Hall of Fame. Overall an outstanding performance.

My only criticism would be the mix clearly favored Landreth’s guitar. It was often hard to hear Cashdollar. Still highly entertaining to say the least. They truly saved the best for last. When they came back for the encore, it was the best song of the night. A beautiful piece dedicated to a fallen friend. Very nice indeed. Nice to see two musicians of this caliber come together for such and amazing performance.

"But how does one know if they've gone mad?" asks Alice of the elusive Cheshire Cat as he swings on a rail, hanging twenty feet off the ground. "You see, a dog growls when it's angry, and wags its tail when it's pleased," he answers. "Now, I growl when I'm pleased, and wag my tail when I'm angry." He grins and disappears, leaving a baffled Alice to contemplate the difference between madness and sanity, the similarities they share, and whether or not they might just be one in the same.

Set in the alternate world that exists beyond – or through – the parlor mirror, Lookingglass Alice is based on Lewis Carroll's sequel to the ever-familiar Alice's Adventures in Wonderland: Through the Looking-Glass. So instead of going down the rabbit hole, we literally step through the looking-glass into a dreamy (and sometimes nightmarish) world of opposites, nonsense, and whimsy, as if we too have dozed off after a game of chess and awake to find a new dimension waiting for us above the fireplace mantle.

With or without its befitting name, the Lookingglass Theatre couldn't be a more apt setting in which to tell this tale, with its open, industrial structure taking the viewer out of the space of traditional theatre and promising something more immediate and exciting.

Part children's entertainment, part Cirque du Soleil, part vicarious drug trip, Alice takes the audience on a journey simultaneously magical and dark, funny and frightening, alarming and calming, and above all, surreal. Characters have different proportions through the looking-glass, some excessively tall, some uncharacteristically small; one can run fast for hours and wind up in the very same spot from which they started; Red Queens float on umbrellas in the ocean; cats play with oversized balls of yarn (or is it you who are under-sized?); Alice spins so fast on a suspended hoop you don't know which end is her head and which are her legs – the visual equivalent of how both the audience and the heroine feel after their disorienting passage into the world within the mirror.

A very physical show, Alice is the sort of spectacle meant to be enjoyed by all types of audiences. Young children might be best left at home – the loud noises, confusion, and surreality of it all can be a little overwhelming – but it's undoubtable that physical feats like continuous two-person backflips, the lifting and balancing of actors as though they were weightless, and an anxious finale where Alice wraps herself in ropes mid-air and falls without hitting the ground will impress adults, teens, and kids alike.

Remarkably executed by a vastly talented five-person cast, Alice is less a play than it is an experience. It's colorful and unpredictable. What it lacks in plot, it makes up for in intrigue. Where it forgets logic, it remembers absurdity. You may run in place for ninety minutes and end up in the self-same spot, but you'll have gained a gleeful acceptance of your own madness and the insight that our world is not always as it looks.

Lookingglass Alice, directed by David Catlin, is playing at the Water Tower Water Works space at 821 N Michigan Ave through February 15th, 2015.

“Camelot” being presented at the lovely Drury Lane Theatre in Oakbrook had an interesting twist to it.  If you've viewed other Camelot versions such as the enchanting animated “Sword and the Stone”, or the impacting dramas

“First Knight” or “Excalibur”, then be ready for a unique mix of both.  The production opened with a young King Arthur conversing with Merlin, his mentor and friend.  Merlin portrayed by Jonathan Weir was witty and engaging as he and Arthur bantered back and forth in the forest.  Quickly the audience was laughing at Arthur's antics, played by Ken Clark, a seasoned performer.

The introduction of Lady Guinevere (Christy Altomare) to Arthur evolved quickly and in a blink of the eye they ruled as the King and Queen.  The scenes and time frames were a bit blurred, and I caught myself wondering what was happening several times.  An example was when Mordved played by Patrick Rooney was on the stage. Suddenly the adult son of the King appears and a large gap of time has elapsed.  When I caught on to who Mordved was, even while following closely it was hard to understand why he and his father seemed at war with one another.

Early on Lancelot (Travis Taylor) beseeched King Arthur to allow him to serve the throne sacrificially and faithfully. Being a warrior, attractive and kind man he secretly won the heart of Lady Guinevere.  During a heartfelt moment Mr. Taylor wowed the crowd with his voice after an encounter with his love, who of course belonged to another.  I would have loved to hear more songs bursting out, but the musical flavor in this performance could only be described as 'song speaking'.  No doubt Ken Clark and Christy Altomare did this beautifully throughout the performance and their interaction with one another was engaging.  Allowing my imagination to veer from what I perhaps expected, I needed to allow room for a different type of portrayal of the King.  

Although a good, fair and wise King, his manner more often than not, seemed a bit naive or it lacked an authoritative stance.  Yet because of this, one scene stood out like no other!

'The atmosphere was sober.  The King was honoring his worthy knights, Lancelot being among them. As Lancelot stepped forth to bend his knee before his King, it was as if the scene was in slow motion. Arthur wrestled with his emotion and anger, knowing of the stifled relationship that Lancelot and Guinevere desired.  Quickly a picture of this Knight's demise entered his mind's eye.  Just as quickly the man he'd become was victorious as he took his sword, and placed it on Lancelot's shoulder.'

It was stirring and well done.  King Arthur's declaration of integrity and strength revealed the truth of why it was his destiny to rule over a people!

The costumes and the manner in which the whole cast portrayed themselves was extraordinary for this era from the hair styles to the magnificent sword fights.  'Camelot' definitely was enjoyable and entertaining despite the incites I mentioned above.  

Camelot will be playing until January 4, 2015, so invite your friends and family.  For more show information, visit www.drurylaneoakbrook.com.