Displaying items by tag: BoHo Theatre

If you love Rent, you’ll really like tick, tick…BOOM! If you don’t like Rent, you’ll probably still really like tick, tick…BOOM!, because what’s not to like about a great story and a talented cast? If you’ve ever struggled, strived, or attempted to create anything — or even just faced existential crises about getting older — tick, tick...BOOM! is relatable, funny, and heart-wrenching.

It's a musical about artists, for artists (and artist appreciators). It's a love letter to the process, the devasting lows and the ecstatic highs. It's sometimes even a love letter to Stephen Sondheim, who actually mentored the musical's late composer Jonathan Larson and saw great promise in him. (It's also an Oscar-nominated film directed by Lin-Manuel Miranda and starring Andrew Garfield on Netflix. Highly recommend.)

Most importantly, the music is fantastic.

And BoHo’s Theatre’s all trans and gender nonconforming production directed by BoHo Artistic Associate Bo Frazier would’ve made Jonathan Larson proud — it lets a diverse, talented-packed cast shine and captures both the humor and horror of the creative process in equal measure.

Larson’s most well-known and influential musical is 1996’s Rent, but he had another musical in the works when he tragically passed. Tick, tick…BOOM! is a semi-autobiographical, rock/pop musical about a young composer named Jon, who’s living the starving artist life in New York City in the early '90s and trying to get his show off the ground. (Can you smell the Rent? Thematic similarities abound: putting all your eggs in your own creative basket over everything else, roughing it in NYC, struggling with the idea of working to get by vs. working for creative fulfillment, staying true to your passions vs. the perceived soul-sucking of "selling out"... like Rent, there are even voicemails from concerned parents.)

I like to think of tick, tick...BOOM! as baby Rent, and an even more acute story, zeroed in on one man, one artist, his journey to make a difference and be heard, and the few people close to him that accompany him on the way.

BoHo Theatre's Alec Phan plays protagonist Jon as engaging and sweet — he's someone you'd want to be friends with, someone you'd root for. In fact, his friends in the show do. His girlfriend Susan, played with charm by Luke Halpern, and good friend Michael, played with nuance by Crystal Claros, encourage him to see his creative endeavors through, even as they take on boring, corporate jobs and move to the suburbs. It's like they've pinned their hopes on Jon too, like maybe they weren't able to make it, but they believe Jon can.

And, with the retrospect knowledge of Jonathan Larson's musical theatre success, we too wholeheartedly root for Jon and respect his integrity as an artist.

Each of the three cast members has extraordinary singing and acting talent, but the highlights for me were the songs that feature all three performers. The opening number "30/90" where Jon laments turning 30 in the year 1990 (and all that he'd hoped to have already accomplished by this point) and the closing song "Louder Than Words" build to choruses with three-part harmonies and uptempo rock piano — Billy Joel could never —that showcase this powerful blend of voices.

Some other fun ones to look up on Spotify: "Therapy", "Sugar", and "Green Green Dress".

Besides the catchy music, the main thing that drew me to Rent as a teenager was its representative cast. It's not just about one type of person, but a bouquet of different types of people, of different races, different sexualities — the first Broadway musical where the LGBT characters outnumbered the heteronormative characters. While the original iteration of tick, tick...BOOM! featured cisgendered characters and actors, this genderfluid production combines the spirit of both of Larson's creations, giving equal voice to a spectrum of humans and normalizing the marginalized.

One thing’s for certain: Jonathan Larson would’ve loved this production.

Tick, tick…BOOM! is playing at The Edge Theatre at 5451 North Broadway from January 19 through February 5, 2023. Tickets and information here.

Bright Star, the Steve Martin-Edie Brickell show that earned musical acclaim in its New York Broadway run, is destined for a love affair with Chicago for Boho Theatre's producion.

The show opened Saturday like a meteorite, sparks flying as the company marched on stage in powerful harmony for its opening, "If You Knew My Story." Then we hear those clarion chords as Missy Wise strides into view, and into our hearts – in a penetrating soprano sailing above the chorus, tuned to a rapid country vibrato that channels Reba McIntyre, Alison Krause and Tammy Wynette, only more dulcet and beautiful. It makes you cry it is so good. And they are only one minute into the number. Phew!

Maybe in Manhattan Bright Star wasn’t approached just right, because they only liked it - or more likely New York is the wrong market. Bright Star is a serious drama, a timeless morality play and a country music operetta all at once – based loosely on the true story of a lost baby (the Iron Mountain Baby), the emotional toll for those involved, and in this telling, delivering a satisfying ending that brings redemption and healing.

The story covers decades, following teenagers Jimmy Ray (Josiah Robinson) and Alice (Missy Wise) who had a baby out of wedlock and were forced by their families to split, and give up the child. But the flame never died, and the two searched for the child and each other for nearly 20 years. 

While at times the book is flaccid and goes a little astray it does not matter - the story is inherently engrossing, and the songs so beautiful and dramatically expressive they carry the show. Treading carefully to avoid a spoiler, we can say Bright Star is exceptionally well cast, with a knockout performance by Jeff Piermont as Billy, a GI home from WWII and beginning a writing career.

Steve Martin’s hand can be seen in witty scenes, and some colorful, scene-stealing characters – including Daryl (Dwayne Everett) and Lucy Grant (Rachel Whyte), co-workers at the publishing house where much of the action happens.  

Martin and his musical partner Edie Brickell insert the band as a character, fitting for a country-inflected musical. Though the band mostly next to and behind the stage, Hillary Bayley on fiddle and other players appear with the cast at various points. 

We watch the teens become adults. Jimmy Ray is heir to a family fortune and business; Alice gets a degree and becomes a celebrated editor at a prestigious Asheville publishing house – one known for shepherding emerging Southern writers (Eudora Welty, William Faulkner, Zora Neal Hurston, Flannery O’Connor,  etc.). On stage, Wise and Robinson have real chemistry together, making their story even more compelling.

Director and choreographer Ericka Mac knows her way around Chicagoland musical theater (among many credits are Parade and Company at Writer’s Theatre), but this Greenhouse Production is perhaps the most intimate space – and she has made the most of it. Scenic design is by Lauren Nichols and lighting is by G. Max Maxin. Costumes, important to the settings and action, and sometimes changed onstage mid-action, are by Robert Kuhn.

Bright Star is highly recommended. It runs through May 5 at the Greenhouse Theater Center, 2257 N. Lincoln, Chicago.

The setting is a drought-stricken Midwest cattle town. Sheriff File (played by Denzel Tsopnang) and the town folk set the mood as they lament that “the earth is burning, crops is bad, and land is dry” in opening number “Another Hot Day” of BoHo Theatre’s presentation of 110 in The Shade.

But it’s not all bad news as one cattle ranching family, H.C.(Pops), Noah, and Jimmy get the welcome news that sister Lizzie’s Coming Home. Lizzie (played by Neala Barron) has been visiting kin, in the hopes of finding a husband. Her quest for love however was as fruitless as the drought-damaged trees.

When fast talking charismatic Starbuck (played by Tommy Thurston), a self-proclaimed “rainmaker”, comes rolling into town proclaiming that for a measly $100, in advance of course, “it’s gonna rain all through the mornin’. It’s gonna rain all through the night. It’s gonna rain all day tomorrow, Now, won’t that be a sight!” the town is whipped into a frenzy.

Beyond the frenzy and excitement (and tension) as we await the promised rain, we witness many layers of emotion in the characters, including insecurity and self-doubt, internal conflict, family conflict, and ultimately love and hope.

Neala Barron (Lizzie) gives a very emotionally raw performance. Her body language and facial expressions were honest and believable. In “Simple Little Things”, I had tears in my eyes. I truly felt compassion towards her character. Her vocal performance was superb!

Tommy Thurston (Starbuck) gave an equally strong though less emotional performance. His charisma and energy were perfectly matched to his portrayal of the fast-talking con-man, yet he successfully and believably toned it down for the more intimate scenes. Vocally, I felt that the fast pacing of some his songs challenged his depth of breath and dropped off just a little.

Denzel Tsopnang (File) was strong as the third lead. While his role didn’t command as much attention his performance was reserved as the role required. His vocal performance however was first class from the opening number and throughout.

H.C. Noah, and Jimmy (Peter Robel, Billy Dawson, and Christopher Ratliff) were excellent in their supporting roles. They each played an important role in the emotional depth of the story.

The production design and technical direction was outstanding as well, specifically the use of lighting to either set a mood, the special effects of thunder, lightning and rain, and the working windmill were more than I expected in this mid-size venue.

Directed by BoHo Theatre Artistic Director Peter Marston Sullivan, this production is rich in emotion, converting this simple romance into a deeply moving story of family conflict, loneliness, love and hope. While this entire production, because of its strength, could transfer easily to a bigger stage, I am happy to have been able to experience the intimacy and the emotion in this mid-size venue. The ensemble size fit the production and filled the stage nicely; the production never felt cramped in this sized theatre.

BoHo Theatre’s production of 110 in The Shade is a MUST SEE for this theatre season!

At Theater Wit thru Dec 16, 2018.

Even if you’re not familiar with Sondheim’s ‘A Little Night Music,’ chances are you’ve heard the song ‘Send in the Clowns.’ BoHo Theatre revives the 1973 musical farce under the direction of Linda Fortunato. Surely there’s not a more romantic summer musical than ‘A Little Night Music – and this production heightens the intimacy in staging and a unique re-orchestration.

At the surface, this comic tale of infidelity and romance set in the Scandinavia countryside is just a drawing room farce. It’s Sondheim’s complicated and soaring music that gives this show flight. He also cleverly lifts themes and ideas from a film by Ingmar Bergman and the works of Ibsen. Despite its seeming lightness there’s great depth in this musical.

‘A Little Night Music’ weaves the affairs of lawyer, Egerman and his young wife Anne. Henrik, Egerman’s son, is in love with similar-aged Anne. Egerman is in love with stage actress Desiree Armfeldt. Then there’s Desiree’s lover Count Malcom, and his jaded wife Charlotte. All these couplings reach a climax during an idyllic weekend in the country.

This is a fun cast to watch. Strong-voiced Rachel Guth provides much of the comic relief as Anne. Desiree is played with a certain sensuality by Kelli Harrington. Her emotionally-charged ‘Send in the Clowns’ is worth the evening alone. Standing out in the role of bitter Countess Charlotte Malcome is Stephanie Stockstill. Donning a cropped pixie cut, Stockstill’s Charlotte is hilariously morbid.

Fortunato makes the most of the space at Greenhouse Theater. Her ‘Night Music’ is scaled back and puts more focus on the music than the effects. She’s able to fill out the ensemble without making the stage feel crowded. The group numbers that make this musical so enjoyable are re-orchestrated by Malcom Ruhl and make perfect sense. An on-stage chamber orchestra provide a charming centerpiece around which the action happens.

Three hours in a theater on a summer night can be a lot to ask. BoHo rewards its audience with a truly charming production of one of Sondheim’s best. Fans of the show will be happy to see some modern touches and those new to this work will surely be piqued by this lovely production.

Through July 8th at BoHo Theatre at the Greenhouse Theater. 2257 N Lincoln Ave. 773-404-7336