Items filtered by date: November 2007

Xanax, Prozac, depression chatrooms, and electroshock therapy aren’t topics traditionally associated with musical theater; but “Next to Normal,” a new musical from Tom Kitt and Brian Yorkey, addresses these ignored psychiatric struggles that hide behind upper-middle class’ suburban addresses.

Diana, a middle-aged mother of two, gets ready for “Just Another Day”: she unenthusiastically sleeps with her husband, neglects her ambitious and angsty daughter, and pulls out two loaves of bread to make sandwiches for lunches. As the opening song builds to a crescendo, she puts several slices of bread on the table. Then on the chair. Then the floor. The trail of bread stretches from the wooden table to her worried husband’s feet. The singing stops and the music clunks into a cacophony, as if the musicians themselves weren’t expecting this episode. It's clear this story will not be a slice of normal life.

The power of "Next to Normal," and part of why it earned the 2010 Pulitzer Prize for Drama, is that its music follows the story. A traditional verse-chorus song structure isn’t imposed on a topic of choice; instead, the mother’s mental illness disrupts the very flow of the songs. Like  the characters within it, the musical is not normal: Diana’s doctors, played by Jeremy Kushnier (the original Ren in Footloose and Roger in Rent), slip into fantasy sequences where they belt out rock ballads; her son, who died as an infant, is given a teenage body, skillfully swinging about the stage like a demonic sprite; her home, a scaffold-like set, shifts like an unsolved Rubik’s cube to demonstrate the ordered chaos of her busy, mentally-ill life. This perfect marriage of content with form – the only marriage that works in the story – makes "Next to Normal" an iconoclastic work that will (hopefully) serve as a model for future Broadway musicals.

Alice Rippley, who earned a Tony for her performance, whole-heartedly attacks the role of Diana, but eight shows a week for almost two years has done considerable damage her voice. One could argue her raspy, untraditional approach sets her character apart, demonstrating the struggle of living in the aftermath of a trauma.  One could also argue her voice distracts from that story when she strains to hold a note.  Her next-to-normal voice becomes even more apparent against the backdrop of talented performers: Emma Hunton (the driven Natalie), Preston Sadlier (the dweeby Henry), and Jeremy Kushnier (the dynamic Dr. Madden/Dr. Fine).

The Great White Way has traditionally been a bit too white, and to be honest, I went into “Next to Normal” expecting “White People’s Problems: The Musical.” While it doesn’t make any advances regarding racial representation, the musical does push a medium toward tackling darker issues using a traditionally light-hearted medium. Musical theater is no longer just care-free romps like “Seventy-six Trombones” and “Oklahoma;” it can be harnessed to address the internal, existential, twenty-first century problems of anxiety, mental illness, and depression. Now, the tiny daily troubles hidden in your home just might be discussed at a different address: the Bank of America Theater, 18 West Monroe.

In 1971 the original production of "Grease" was performed right here in Chicago at what was the Kingston Mines Theatre, located in an old trolley barn in a Lincoln Park neighborhood. We all know what happened from there. Broadway made it a sensation and Hollywood made it one of the most famous movies in history. After all, who doesn’t know a song or two from "Grease"? Now, 40 years after it first hit the stage, "The Original Grease" returns to the city in which it was based, bringing its slicked back hair and leather jackets to the American Theatre Company.

Though the story line is basically the same as the familiar Hollywood version, the original production is much raunchier, proudly taking on an R-rating, making "fuck" the word of the night. Much of its humor is crude, but positively funny, and sexual innuendo is found at the right moment with great consistency.

"The Original Grease" takes the audience to the 50^{th reunion of Rydell High (loosely based on Taft High School) - the class of 1960. We are taken back in time for a stroll down memory lane by the aged alumni to witness the time of their youth firsthand. Though the high school name is fictional, the play takes place in Chicago’s Northwest Side in which many references are made to nostalgic city locations such as Foster Beach, Polk Bros and Carson’s. Director PJ Paparelli and co-creator of "Grease", Jim Jacobs, do a terrific job in reconstructing the pop culture giant, making it more specific to Chicago as it was originally intended to be. The era is beautifully depicted through thoughtful costume design, hairstyles and the good use of period slang and phrases. Captured also, so brilliantly in this production, is the youthful rebellion - and innocence - of the iconic era.}

The play’s cast is as energetic as they are talented. The dancing is fun and there is no shortage of catchy songs. The show also includes new songs made specifically for this production "how Big I’m Gonna Be", "Tattoo Song" and "Comin’ at Ya". But worry not, while "Foster Beach", the original version of "Summer Nights" is played, classics like "Greased Lighting", "Beauty School Drop Out" and "Look at Me I’m Sandra Dee" are also heard.

Adrian Aguilar and Jessica Diaz brightly shine in the leading roles of "Danny Zuko" and "Rizzo" nailing both characters to perfection, while also getting a major boost from the incredibly strong supporting cast including stand out performances by Patrick De Nicola "Sonny", Tony Clarno "Kenickie", Sadieh Rifai "Jan" and Jessie Fisher "Frenchy". Great casting here, as it was easy to believe the tight bonds of friendship that existed amongst this group of friends.

"The Original Grease" should be seen by all "Grease" enthusiasts and would also be fully enjoyed by those who had never seen the live production or film. Playing through June 26th at the American Theatre Company, "The Original Grease" returns to its Chicago origin triumphantly. For tickets or more information, visit wwwACTWEB.org or call 773-409-4125.

If it’s one thing to appreciate in this world, it would be Sondheim. Stephen Sondheim has written some of the best scores in musical theatre. From his countless melodies to the beautiful lyrics, A Little Night Music has grown to be one of my favorites of his that he’s written. Based on Ingmar Bergman’s film “Smiles of a Summer Night,” the story is about love, liaisons, and where your true passion lies.

Having this been my first show I’ve seen with Circle Theatre and in their new performing space, the show was such a great experience. Bob knuth’s direction was fantastic, making the show’s mood mellow at points, but hard on the edges where they should be. Kevin Bellie’s marvelous choreography shines through the performers. Mostly, with all the waltzing that’s done in this show, I can only imagine how dizzy it might get. The beautiful white set was designed by Bob Knuth as well. Wow, I can only imagine how crazy it must be to design the set AND direct the show. Either way, the direction was very well-on for this production.  The lights flowed softly onto the set. The orchestra, musically directed by Josh Walker, sounded beautiful. They really sounded perfect with the actors. Especially since the music in this show is very tricky, because all the music in this show is in waltz time.

It starts with Fredrik (played by Kirk Swenk), an older gentleman, who marries Ann (played by Stephanie Stockstill), who’s a lot younger than him. Meanwhile we have Henrik (played very strong and powerful by Patrick Tierney), who is their son, and who’s in love with Ann. We have the maid, played brilliantly by Khaki Pixley (who sang a great version of “The Miller’s Son”). Then, of course, there’s Desiree and Madame Armfeldt (played by Anita Hoffman and Patti Roeder; both played flawlessly), the actress, who Fredrik is infatuated with, and her mother.

Now when I saw the show, Kevin Bellie came out before the show and made an announcement saying one of the performers was sick, and if anyone had a problem with the performance, they can get a full refund. I appreciate a theatre that would do that, especially since in some performances, there are no understudies, like this one. Well, the actress who was sick was Desiree. Now her acting was wonderful, but when she sang, you can tell something was up. But that didn’t bother me at all. Her rendition of “Send in the Clowns” had me in tears. Another great number was “Weekend in the Country.”

Other great notable performances came from Jeremy Rill (playing a fantastic powering Carl-Magnus) and Deanna Boyd (playing a funny, yet, strong-minded Charlotte). Rounding out the great performances were the Lieberslieder Singers (Kristine Burdi, Elizabeth Hope Morgan, Anna Hickey, Matt Edmonds, and Jonathan Landvick), who narrated the story. Each singer represents a character in the show, and they do a wonderful job painting the story for you.

Overall, A Little Night Music is a brilliant piece of theatre, and Circle Theatre does a great job of interpreting it! Although, the show can be long, it’s well worth it. Props to Bob Knuth, Kevin Bellie, Josh Walker and the cast and crew for putting on a beautiful production!

Location:   1010 Madison Street in Oak Park

Runs:   April 29-June 5, 2011 Fridays and Saturdays at 8pm & Sundays at 3pm.

Tickets:   All seats $22; Sat/Sun: $26 for adults, $24 for students/seniors;

Group rates are available.

For more information or to order tickets visit www.circle-theatre.org or call 708-660-9540.

Hairstyles are a quick way to get a read for the age of an audience. “The Zoo Story” at Victory Gardens late last year boasted mostly grayed combovers; “God of Carnage” at the Goodman had shoulder-length cuts and shaved necklines; even “Sex with Strangers” was mostly a salt-and-pepper type of crowd. But at Monday’s opening night of Passing Strange, the 2008 Tony-Award winning rock musical-memoir conceived by musician Stew, the audience was filled with locks of a different color: died porcupine perms and spiked, jet-black up-dos. This was a young crowd.

Youth, rather appropriately, is also the name of the protagonist of Passing Strange; the Black teenage musician, raised in Los Angeles, struggles to find his creative voice and fears becoming too comfortable artistically. So the young artist trips – geographically and psychedelically – from Amsterdam to Berlin, from weed to speed. Watching over Youth’s juvenile delinquencies is the Narrator, peering down like an omniscient father, supplying exposition and exposing cracks (both logical and wise) in the boy’s life. Played on Broadway by Stew, the Narrator here is J.C. Brooks, lead singer of Chicago-based post-punk soul band The Uptown Sound, who energetically supplies all the show’s sound from upstage.

Passing Strange was a critical and commercial success on Broadway, and its Midwest reincarnation by Bailiwick Chicago demonstrates just how universal this story of a young artist is. In short, the dish works without Stew. Brooks is a commanding yet tender narrator; his voice, warm like a wool blanket, channels the pain and longing of an older, wiser artist. Despite his impeccable performance, though, he looks young for the role. A shiny, wide-shouldered black blazer ages him slightly, but weathered nostalgia does not come with only a costume. A younger Narrator does allow Brooks to be more actively engaged with the narrative than Stew was on Broadway. Perched on a stool with a wireless mic rather than cut off by a desk and micstand, Brook’s Narrator intervenes in the story, sitting on the set and occupying the same space as his younger self. He speaks swiftly and carries a wireless stick.

The show is smart, dealing with issues of class, race, gender, sexuality, art, reality, identity, and all their messy and magical intersections. Osiris Khepera stands out amongst the ensemble, embodying shameless commitment and raising all these themes in a speech as the son of a preacher man that that reaches everyone.  Beneath these intellectual themes, though, smashed PBR cans and Heinekens remind us this is a rock show. The director’s note quotes Shakespeare, while the playbill is shaped like an album track list. Through its own shifting identities, Passing Strange emerges as a complicated, emotional, and entertaining work of art. Whether it is a rock concert passing as a musical or a musical passing as a rock concert is still up for debate, but both performance forms are challenged though this blurring of the lines, like a streak of red tearing through heaven-pointed, spiked black hair.

Dangerous stunts and rubber-like contortionists are only part of the fun when it comes to the most recent version of Cirque Eloize, but as the phrase goes, "there’s so much more". And there is. Directed by Jeannot Painchaud, Cirque Eloize iD grabs artists from all over the world to bring to life a unique reality consisting of urban street dancing to electronic and hip hop music, aerial acrobatics, romantic themed choreography, stunning bicycle feats, in-line skating, stilts, juggling, hypnotic lighting effects and an exclusively designed trampoline display using their "trampowall".

There are no language barriers present at Cirque Eloize iD, as everything is carefully set to music, body language and human emotion, making words an unnecessary function – yet each message is precisely conveyed to the audience.

Cirque Eloize is energetic and youthful, and, above all, is mind-blowing. From the show’s beginning to its end, "oohs" and "aahs" are heard throughout the theatre with regularity along with the more enthusiastic outbursts of "Cmon!", "I don’t believe it!" and "Did you see that?" Still, as high energy and exciting as Cirque Eloize iD is, there is also a fair share of beautifully executed romantic acts comprised of graceful dance movements, soft lighting and other variations of skillfully dangerous stunts, giving the show a balanced flow from sequence to sequence.

Cirque Eloize iD is playing at the Cadillac Palace Theatre at 151 W. Randolph in Chicago through Sunday, May 8^{th. For tickets or more information visit www.BroadwayInChicago.com or call (312) 977-1710}

 Fans of Point Break(the movie) and oddball irreverence are being given a rare treat at New Rock Theater. I use the term 'fans' loosely, in the way that arts and entertainment can be enjoyed and respected in ways not always intended. Among other things, Point Break Live is just what it's titled – script and scenes taken from the 1991 major motion picture brought to life in front of a live audience. In case you've never seen it, (very basically)Point Break tells the tale of quarterback gone FBI agent Johnny Utah, who must go undercover to bust a gang of surfing bank robbers. Putting on a comedic focus, it turns into a zany production.

To start - arguably the best idea in the show is that Johnny Utah, the main character, is played by a different audience member each night. This idea is at the same time risky and ingenious. Despite whatever experience the Keanu participant might have in acting, he could easily be rendered inept by the cumbersome cue cards, onstage admonishments, and other abuses. Indeed, many of the memorable parts of the evening were when the actors would break character to berate or molest Johnny into an awkward stumble. Here I must add a notable mention of the hyper-impassioned cue-card girl(also playing as the Keanu stunt double) designated to help the Utah deliver, whose outrageous motivation so often provided an excellent counterpart to the superflat Johnny Utah.

The show overall was aggressively engaging, sparing no one from becoming a liquid - or verbal - target. To the relief of most, ponchos are provided from the start. Reliable for most of the show, but don't count on this plastic covering when commences the 50-year storm. The concept of a stage is also repeatedly dismissed through interactive fights, chases, and robberies.

The type of humor used in PBL is best enjoyed with a thorough knowledge(or at least a viewing) of the film beforehand. My experience would not of been nearly as enjoyable had I not watched Point Break during the week I planned on going. While that might make it sound limited to referential/inside humor, it is the loose, spirited mood that makes attendance worthwhile. Shirtless characters doused in bro-love take on a bizarro likability from what they were in the movie. Favorite lines get shouted from the seats. The whole cast seems to be up on having fun, and participates naturally in moments of improvisation between and during scenes. All that and a conveniently located bar offering (reasonably-priced)drinks throughout the show makes this a cool, casual event to check out.

There are still a couple weeks left to catch Point Break Live!. The show will continue to run on Friday and Saturday nights at 10pm through May 7^th.

(773) 866-0200

Last night Foals, along with openers Freelance Whales and The Naked and Famous, played to a sold out crowd surprisingly composed of the largest group of non-hipsters Wrigleyville has probably seen in years.

The Naked and Famous, playing their first show in Chicago, started off a little stiff but okay.  As time went by the more confusing it got about what kind of music this band wanted to play.  The Freelance Whales started off fun but after a few songs, the crowd was just not feeling their heavier material.  Their niche is definitely within the upbeat tunes.

Foals were met with roars and even a few squees from the audience.  The band’s lead singer, Yannis Philippakis, sounds a lot like Coldplay’s lead singer, Chris Martin as do both bands hail from the United Kingdom.  That’s where the similarities between the two bands end though.  This band is not like one that you’d hear on the radio but trust me, that’s a good thing.  It’s not so different that you hear it and hate it immediately because it’s out of your musical comfort zone but their music is diverse and a friendly way to prove that there is still good music being made out there.  They definitely know how to get the crowd moving with great energy and upbeat music.  Even the men in the crowd danced a bit.  Not the head bobbing that we are used to, but actual dancing to the beat!  The crowd sure needed tunes like “Total Life Forever” and “Afterglow” to make them put their iPhones down and they got it with Foals.

Be sure to check out the band at www.foals.co.uk .

If you love classic dance musicals from the 30s, then you will love Marriott's new production of 42^nd Street! The cast was wonderful. Now, I personally, have never been a fan of this show until now. After seeing this show, I loved it! The show is directed by Jeff Award winner Rachel Rockwell, with beautiful costumes by Nancy Missimi, unbelievable choreography by Tammy Mader, and Doug Peck's fantastic musical direction.

The show, about a tap-heavy cast getting ready to open their show, “Pretty Lady,” directed by the moody but brilliant director Julian Marsh (played fiercely by Tom Galantich), who starts to see new beginnings for his show when Peggy Sawyer (Kaitlyn Davidson, who amazed us with her dancing and beautiful matching voice), the small town girl from Allentown, Pa., steps into the lead role, when diva Dorothy Brock (the funny Catherine Lord) falls and breaks her ankle. The investor along with their star diva leaves, now it's up to Peggy to live up to the star in her performance.

The show breathes with magic in the feet of its actors. The tap dance segments were so wonderful to watch. For one thing, the choreography is truly the highlight of this show. I highly recommend this show to anyone that wants to have a fun time at the theatre. This show is for you.

For being a theater-in-the-round, the Marriott Theatre in Lincolnshire puts on astounding productions every season. For choosing 42^nd Street, I think they made the right choice. Everything was perfectly put in place. The comedy, the fun, the dancing, the lights, and the smiles onstage. For those of you who have never seen the show or heard it, then you maybe may have heard some the songs that are in the show, including “We're in the Money,” “42^nd Street,” and the classic “Lullabye of Broadway.”

Overall, it was a great entertaining evening of theater. Definitely go see this show. Who knows? You might be humming the music as you walk out the door. Marriot is a great theater to see shows, so if you get the chance try to see one there if you have or haven't. You won't be disappointed.

42^nd Street is playing through May 29 at the Marriott Lincolnshire Theatre; 10 Marriott Drive, Lincolnshire. The running time is 2 hours, 20 minutes. Tickets cost $41-49 at 847-634-0200 or visit them online at www.marriotttheatre.com.

The first thing that strikes one as they enter the theatre is the massive set. With a spacious hotel lobby taking up the entire main stage, check-in counter and switchboard on one end, a stairway takes us to the second floor where several rooms stand side by side, each framed with doorways though the doors and walls are transparent, giving the audience a bird’s eye view into each unique setting. Every room is decorated differently from the other, hinting towards each occupant’s personality. As theatre guests take their seats, activity is already taking place on the stage, presenting the daily goings on of hotel life from a man reading a newspaper, a clerk operating the switchboard, and people walking to and fro throughout the lobby or from room to room.

An aging hotel in the early 1970’s, we can see watermarks, missing fixtures and other signs of dilapidation. The tenants consist of a motley assortment of characters including prostitutes, assorted drifters and a handful of other folks with tough stories. However, despite their differences in background and current situations, a family-like bond has been created. Hard news hits when the news breaks that the Hotel Baltimore is set to be demolished and life as they recently knew it must change. Jon Michael Hill wonderfully plays "Bill Lewis" the hip hotel clerk who finds himself in the center of everything and who is just as much a part of the family as the boarders.

A gentle ghost from a past era, perhaps the 1930’s, also resides in the hotel. Donned in a 'Palm Beach" suit and fedora pushed forward over his eyes, he quietly takes pleasure and interest in everything that happens. The ghost subtly watches on and glides from room to room and lobby, adding the feeling that grand days once took place in the Hotel Baltimore as opposed to that which takes place in its current run down state.

The set is tremendous, but the hauntingly accurate wardrobe direction also plays a large part in bringing the 1970’s alive, taking viewers somewhere in between "The Electric Company", "Cooley High" and "The Mary Tyler Moore" show.

With a strong cast filled with Steppenwolf ensemble veterans Kate Arrington, Alana Arenas, Yasen Peyankov, James Vincent Meredith and Molly Regan, there is no shortage of fine acting. "Hot L Baltimore" also brings in other super talents such as Allison Torem, de’Adre Aziza, Namir Smallwood and Sean Allen Krill (one of me personal faves) amongst others, which turn an already strong cast into a spectacular one.

"The Hot L Baltimore" has it all – funny, revealing, moving and visually stimulating. Written by Lanford Wilson and directed by ensemble member Tina Landua, this show falls into the "must see" category. "The Hot L Baltimore" is playing at Steppenwolf through May 29^{th. For tickets or more information visit www.steppenwolf.org.}

One part solo drag show, one part infomercial, one part women’s history lecture, and three parts sexual innuendo, “Dixie’s Tupperware Party” is all parts party.   As you enter the studio theater at the Royal George, grab a nametag and a piece of candy from Dixie, who trots around with a candy dish like any proper party host should. When you take your seat, you won’t find a playbill with cast bios, but the Spring 2011 Tupperware catalogue (Dark blue water filters and pitchers are all the rage this spring.)

Dixie Longate, a formerly incarcerated mother of three from Mobile, Alabama, hosts the party/stars in the show, demonstrating the multiple uses for Tupperware merchandise. In a blue-polka dotted dress and three-inch heels, Dixie shows a caddy for 18 cupcakes that could also carry 24 Jello shots. Or perhaps an air-tight water bottle just enough room for a bottle of Yellowtail. And gentlemen, go ahead and marinate your meat in the double-ribbed container: it comes with a lifetime guarantee.

The solo show really shines during segments of audience participation. Raffle prize winners are invited on stage to massage a Tupperware brand ball or compete in a sealing context. Dixie’s improvisational abilities are as tight as the air-tight seal on the “plastic crap” she peddles. Last Wednesday, when Mike had some trouble operating a can opener, Dixie railed into him (“Mike. Mike. Mike. Miiiiiiiike. Mike. Mike.”) Of course, improvisation can lead to unedited material, and the night I attended, there were a few too many lesbian jokes directed at a young woman who was chosen to sit on stage. Of course, by placing the butt of the jokes in a couch on stage, audiences (and Dixie) can see how the person reacts and course-correct accordingly. The woman laughed.

The man behind the woman on stage is Kris Andersson, who a decade ago was working as an actor in Los Angeles. A dare from a friend gave birth to a character who became the third-highest seller of Tupperware in 2003, acknowledged as such during the company’s annual Jubilee. Producers took notice, and “Dixie’s Tupperware Party” transitioned from an evening in someone’s home to and evening at the New York Fringe Festival. The production, in various incarnations, has been on tours ever since.  Now 41, Andersson seemed a bit tired at the end of the show where he essentially talks for 100 minutes. An eleventh-hour emotional monologue allows him the opportunity to sit, and when the lights dim and Dixie talks about winning the Jubilee (an annual party celebrating Tupperware's top sellers), the evening is given some emotional gravitas.

The emotional thread that carries throughout the piece centers on the creator of Tupperware parties: Brownie Wise.  Throughout the evening, Dixie worships the black-and-white photograph of Wise, who took the newly-invented Tupperware off the shelves and promoted the product through parties in her home after WWII. At a time when many women were losing their jobs as the war effort ended, Wise, according to Andersson via Dixie, empowered women working at home to earn extra income using their party planning and entertaining skills. Today, Andersson uses his entertaining skills to support himself, donning Dixie’s drag to sex up the prudish 1950s image of a Tupperware Party.

 “Aren’t you dressed nice, Mr. Zach,” Dixie remarked as the evening began, reading from my nametag and offering me a sugar-free mint from her candy dish. “My friend was dressed up, too, but changed before we came,” I replied. “Oh, of course, would dress up for the theater?” she deadpanned. “It’s just fine to look like a common whore.”