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The China Performing Arts Agency presented “Kunlun Myth,” an original musical from producer Wang Yu, for a two-night engagement at The Auditorium Theater of Roosevelt University. “Kunlun Myth” smartly incorporated ancient and modern concepts into an elegant, sparky performance and what better venue to perform than the Auditorium Theater. During this visually stunning show, The Auditorium was filled with an incredible energy. A number of bubbly performances, original dance productions and strong vocals made for a uniquely wonderful experience. 

The “Kunlun Myth” begins in the Kunlun Mountains (important fabled mountains in Chinese mythology) where the Heaven Pillar resides. This pillar connects Heaven and Earth, and serves as a portal between the two worlds. Deng Fei, a college student from Beijing, visits the Kunlun Mountains and discovers the relic of the Heaven Pillar. Deng Fei reads the pillar’s inscription and is abruptly transported to Heaven. Once there, he meets Mei Duo, the daughter of the Heaven pillar tribe’s chief. Deng Fei and Mei Duo fall in love. Deng Fei also meets Queen Mother who wishes to rebuild the Heaven Pillar because Gong Gong knocked it down. Gong Gong does not want the pillar rebuilt because he fears that the disasters from Earth will travel through the pillar and destroy Heaven. Ultimately, Deng Fei is on a quest for self-knowledge, and returns back to Earth in good spirit. 

Properly capturing the mystical Kunlun Mountains on stage would seem like a difficult feat, but set designers were successfully able to create the magical mountains. Elaborate patterns and set pieces were jaw-droppingly beautiful. The creative juices were really flowing. The lighting designs were dramatic and impressive. Neon lights accentuated set pieces and made the stage pop with color.

From gold, shimmering gowns to casual khakis, the costume department was superb. Every single costume was elegant in its own way, whether it was Mei Duo’s dress, or Gong Gong’s suit of amour. The only character without an elegant costume was Deng Fei, who sported a Yankee snapback, green windbreaker, and khakis.

Beautiful vocals and powerful music made the auditorium rumble. Music styles ranged from pop, rock, and hip hop. Mai Duo sang beautifully, definitely goosebump worthy. Gong Gong had deep, commanding vocals which set the show’s deep and dark mood. 

Kunlun Myth was performed in Chinese, with English subtitles to aid audience’s understanding. There were no subtitles for dialogue, only for the musical numbers. Audience members who could not understand Chinese that may have been lost during the dialogue relied on body language to help understand. Since the dialogue was in Chinese, much was left for interpretation. 

Performances were held on Wednesday, Sept. 2 @ 7:30 p.m. and Thursday, Sept. 3 @ 7:30 p.m.

I truly adore anything with Cole Porter’s amazing music performed as well as the cast at The Marriott Theatre. Porter’s songs “I Get a Kick Out of You”, “You’re the Top”, “Easy to Love” and “Blow, Gabriel, Blow” are lovingly performed and choreographed to perfection.

“Anything Goes” is the still fresh and funny tale of a group of passengers setting sail for romance and adventure on a spectacular ocean liner from New York to London. When some of the passengers complain to the Captain there are not enough celebrities on board, the Captain realizes that even criminal celebrities are exciting enough to qualify and invites the two “infamous crooks” on board to dine at his table to appease the rest of the guests hunger for drama and notoriety.

Stephanie Binetti (who plays the siren Reno Sweeney) is absolutely sensational in this role. I loved that she was more glamorous than strident, less Ethel Merman and more Liza Minelli, as it were.

Jameson Cooper as Billy Crocker started out a little bit lukewarm in my eyes but after he warmed up and performed his beautiful, heartfelt rendition of “So Easy to Love”, he really won me over. One could certainly see how Cooper as Billy Crocker can so easily charm Hope Harcourt, played by the lovely Summer Naomi Smart, with his genuinely romantic and earthy interpretation of these classic lyrics.

I never get tired of the dynamic and original staging in the round at The Marriott Theatre in Lincolnshire. This makes the big dance numbers (which there are plenty of) especially rich. Having the large cast move up and down the aisles throughout the show makes every single seat in this intimate playhouse a great seat!

Moonface Martin is played with amazing comic timing by Ross Lehman.  At the same time, Moonface’s blonde bombshell moll, Erma, played by Alexandra E. Palkovic, adds just the right of amount of real old time sex appeal to this show.

I highly recommend this fun, soaring production of one of Broadways’ most beloved shows for the entire family, especially for young people who have never been exposed to the wonder and magic of well done theater in the round!

“Anything Goes” is being performed at The Marriott Theatre in Lincolnshire through May 31^st. For tickets and/or more show information, visit http://www.marriotttheatre.com/show/anything-goes. 

When it comes to family, can there be boundaries crossed to which mercy and forgiveness should no longer considered? And should this barrier be traversed upon, is it even possible to wholeheartedly exonerate those who do even if one wants to? In Rory Kinnear’s debut play The Herd (aptly named for so many reasons) these questions are raised as we are confronted with a fractured family, presumably from an upper-middle class suburb in England, who get together to celebrate Adam’s twenty-first birthday. Adam is disabled and has the mental function of that less than a one-year-old, much like writer Rory Kinnear's adult sister, thus the seed of inspiration for this hard-hitting dramedy that perfectly utilizes the perfect amount of comic bite to ease the tension and often uncomfortable moments in this well-crafted story. Though Adam has recently been institutionalized and home visits have become a rarity, his presence is strongly felt throughout even though we never see him. 

Three generations of family have converged at Adam’s house as they await his arrival from the hospital via his caretaker. His mother, Carol, frantically races around to make everything perfect and her parents (superbly played by the great John Mahoney and Theatre Hall of Famer Lois Smith) are patient and ever optimistic of the day’s events. Adam’s thirty-two-year-old sister Claire has brought her new boyfriend over to meet her family and has some other news of her own to share. We soon learn how much Carol has sacrificed in her life to care for Adam and the stress that comes with such a burden. Yet it is also apparent it is a burden of love. Molly Regan is a turbine of passions and steadfastness in her portrayal of Carol, making a tough role appear seamless.

In anticipation of Adam’s appearance, balloons, party favors, a large birthday cake and happy faces all around seemingly provide a happy environment but that quickly changes when Adam’s father, Ian, who abandoned the family some time ago, shows up unannounced. It doesn’t take very long before layers are quickly peeled between he, Claire and Carol soon becoming an emotionally charged free for all.

As internal issues come to a head between the three, it is Carol’s parents, Brian and Patricia, who attempt to douse the flames whether it be by way of humor or simply sound observation. It is refreshing to see how the grandparents assert themselves as the voice of reason in this story as Kinnear places an obvious importance on the wisdom of elders in an age where the aging are so often disrespected and disregarded.

The way humor is so often used as an escape for such heavy subject matter in Kinnear’s “The Herd” is very true to life. He is not afraid to joke about death nor is Kinnear afraid to tap into the unpopular inner thoughts we might have, such as wondering if Adam’s death will allow Carol to live again. Smith’s sharp waggishness along with Mahoney’s spot on comic delivery only strengthen already strong characters that we can quickly trust and rely upon.

As the play nears its end, we are hit with the decision of whether to forgive or not. Frances Guinan makes a compelling case as Ian and, though he opens up and lets himself become vulnerable in seeking forgiveness and once again gaining acceptance, we wonder if he can be trusted despite his apparent sincerity. Guinan is marvelous as he rolls up his sleeves and, as he does in so many roles, really puts his heart and then some into his performance as Ian.  

Kinnear’s “The Herd” at Steppenwolf is highly recommended. Its all-star cast, engaging dialogue, moving story and elaborately designed set all contribute into making this a nearly perfect theatre piece.

“The Herd” is playing at Steppenwolf through June 7^th. For tickets and/or more show information, visit www.steppenwolf.org.   

In celebration of Roosevelt University’s 70^th anniversary, the Auditorium Theatre brings in two iconic stage and television veterans for its one night performance of “An Evening with the Roosevelts”. Ed Asner, known mostly for his portrayal of “Lou Grant” on The Mary Tyler Moore Show and much more recently as “Santa Claus” in the holiday hit Elf, takes on the role of Franklin Roosevelt while Loretta Swit, identified mostly as “Margaret ‘Hot Lips’ Houlihan” in the 1970’s breakout hit M.A.S.H. plays Eleanor Roosevelt. 

The one evening performance is broken down into two plays – the first has Asner portraying the former President in “FDR” followed by Swit as the famous First Lady in “Eleanor”. As Franklin Delano Roosevelt, Asner touches on his battle with polio, his running for governor then president and the attack on Pearl Harbor that forced America into the second World War. Wondering beforehand if Asner would be a good fit as FDR, I left with mixed feelings. Asner’s gruff and forward delivery along with a very visible dedication to the role seemed to work well enough to make one eventually get past the obvious disparity in appearance. Still as spunky as ever, the eighty-five years young Asner can be a fireball when called upon and he also generates a fair share of laughs from the crowd. His intensity is admirable, his emotional capacity impressive and his timing still impeccable. Hobbling around the set with a pair of canes, Asner also adds a physical dynamic that is as believable as the lines he delivers. Unfortunately, as good as Asner is, the material and formatting come off a bit lackluster. Slow-paced and a lack of redeeming values and poignant realizations leave this show less than memorable outside of Asner’s passionate performance.

Loretta Swit can also be a pleasure to watch as she portrays Eleanor Roosevelt in her compliment to Asner’s “FDR”, but the same holds true as far as her show’s lack of engaging material and its tendency to drift back and forth. The Emmy-Winning actress’ one-woman show starts after the death of Franklin Roosevelt. “Eleanor” begins when President Truman asks her to head the American delegation to the newly created United Nations. Eleanor ponders the offer for some time before accepting the offer, realizing the massive potential such a position could have on women’s rights. We also learn about FDR’s affair and the conflict within herself on whether to leave him or not. Swit is charming and graceful as the First Lady but she is also no nonsense when need be.

To see two such famously polished actors perform such important roles from our great American History is still novelty enough despite the not so engrossing scripts. Plus, each show contains plenty of factual tidbits that may be unknown to some, making this special event a great history lesson – or refresher, as well. 

The Auditorium Theatre has plenty lined up right around the corner with scheduled performances by Damien Rice, Lila Downs, Chicago Rhythm Fest and The Eifman Ballet of St. Petersburg. THE NFL Draft will also be taking place at the Auditorium Theatre beginning April 30th, making its first appearance in Chicago in just over fifty years. For more Auditorium event information visit http://www.auditoriumtheatre.org/.  

Northlight Theatre follows up the hard-hitting drama “White Guy on the Bus” with another extra-base hit with the charming comedy "Outside Mullinger". Set in the Midlands of Ireland, Artistic Director BJ Jones directs this humorous love story that, though mostly transparent in its direction, offers a handful of fun surprises. Outside Mullinger is written by Pulitzer, Oscar and Tony Award Winning author John Patrick Shanley (Moonstruck and Doubt). Needless to say, Shanley has done it again.

“Having survived to my 60^th year, I wanted to express joy,” says Shanley on writing Outside Mullinger. “I wanted to laugh, I wanted to name what is possible and beautiful about being alive.”

Set in the Midlands of Ireland we are introduced to two families that own neighboring farms that have been handed down for generations. Though Anthony and Rosemary have been neighbors for years, the two have secretly longed for each other, neither one the wiser. Despite the fact that they are somewhat outwardly gruff with each other, we see an underlying affection that is just dying to bust out. When Rosemary learns that Anthony's father "Tony Reilly" might not leave him the farm, she intercedes, changing paths in the process and ultimately creating new opportunities to express suppressed feelings.

The story is well written but its very talented cast is what truly makes this show a memorable delicacy. Acting and writing great Bill Norris is simply superb as "Tony Reilly", skillfully dishing out his lines with seasoned prowess and a profound candidness. Mark Montgomery is also right on mark and is highly likeable as Anthony and Kate Fry shines brightly with her razor sharp delivery and unbridled conviction as Rosemary. The chemistry and banter between Montgomery and Fry is nothing short of convincing, making the story as believable as it is cute and funny. Also contributing to the story’s sincerity is a rotating set that switches from one realistic farmhouse kitchen to another.   

If you want a love story with just the right amount of laughs, challenges, tenderness and emotional depth, Outside Mullinger is a play with quick-witted and heartfelt dialogue that will certainly be enjoyed.

Outside Mullinger is being performed at Northlight Theatre through April 19th. Northlight Theatre is located at 9501 Skokie Boulevard in Skokie. For tickets and/or more show information, visit www.northlight.org.

Former members of The Band, Levon Helm Band and the Rick Danko Band were playing songs popularized by The Band last Friday night at the Elgin Community College Arts Center. It was very nice seeing such well-seasoned players serving up some fine music. This talented musical outfit is simply called The Weight.

Five piece band like the original, there were only a few differences. For one, there was no change in the drummer seat. In the original lineup Levon Helm would often jump on the mandolin and Richard Manuel would occasionally sit behind the kit. Friday night’s show had two keyboardists were playing the entire time, swapping places behind an electric piano and a Hammond B3. The guitar player was also covering the mandolin parts.

The musicianship was flawless. The vocals were very good, but naturally a slightly different blend than the Helm/Danko/Manuel harmonies of the past. Still, there were moments when you could close your eyes and take a trip back to yesteryear.

The Weight opened up with “Stage Fright”, a classic from the album of the same name. About half of the songs from the self-titled Brown album were covered. But they saved the big hits for the end, beautifully executing “The Night They Drove Old Dixie Down”, “The Weight” and “Up On Cripple Creek”. Ending on a high note, The Weight jumped into encores “Rag Mama Rag” and the Bob Dylan penned “I Shall Be Released”.

Everyone present in the crowd seemed to thoroughly enjoy the show. However, there were too many empty seats for the caliber of entertainment presented. You should have been there.

What's better than a good revenge story? How about a revenge comedy? Better yet, how about a revenge comedy musical? First Wives Club is all of that and then some. Partially driven by a Motown soundtrack, this glitzy musical taken from the 1996 film starring Goldie Hawn, Diane Keaton and Bette Midler presents many memorable numbers - some from hits we all know like “Reach Out…I’ll Be There” and “I Can’t Help Myself (Sugar Pie Honey Bunch)” and some written just for this production.

When three housewives reunite years later after their college girlfriend commits suicide due to an unfaithful husband, they soon realize they have something in common - all their husbands are cheating. Joining together, the three decide to form The First Wives Club and exact revenge upon their unfaithful spouses in bold fashion.

First Wives Club is bolstered by an incredibly talented cast. Christine Sherrill is lights out as “Elise Acton” while Broadway legend Faith Prince and Carmen Cusack also make a huge splash as gal pals “Brenda Cushman” and “Annie Walker”. Sherrill's velvety smooth voice stands out as she belts out one number after the next, especially noteworthy in “Old Me New Me”. Not to be overshadowed, Prince also displays her vocal prowess and even gets big house applause during “My Heart Wants to Try One More Time”. Patrick Richwood is tremendous as the flamboyant “Duane Fergusson” while Sean Murphy Cullen’s physical comedy Jackie Gleason-esque as the cheating, but loveable, “Morty Cushman”. The ever changing set was almost a show in itself. Colorful and dazzling, the set was massive as it was convertible, seamlessly changing from one world to another.

Gracing the red carpet to kick off the new Broadway-bound musical were musical contributors and Motown legends Brian Holland, Eddie Holland, Lamont Dozier, The Four Tops’ Duke Fakir, Martha Reeves of Martha and the Vandellas and two-time Tony Award winner Christine Ebersole along with five-time Emmy Award winner Linda Bloodworth Thomason.

The story is light with just the right amount of campy humor and the dancing and singing fully entertaining to one catchy number after another. With such likeable main characters (three women in their mid-forties) it is easy to see this production finding Mamma Mia-like success. Wonderfully directed by Simon Phillips, First Wives Club: The Musical is a laugh out loud, feel good winner. Revenge is sweet but even sweeter when done by a trio of women that are so much fun to watch.

First Wives Club: The Musical is being performed at The Oriental Theatre through March 29^th before it hits Broadway. For tickets and/or more show information call (800) 775-2000 or visit www.BroadwayInChicago.com. 

Attempting to tackle a slew of tough issues, Picture Imperfect is an emotional drama with good intention that raises awareness to the difficulties of...well, single motherhood, autism, drug abuse, gambling, abandonment, the hardships in dealing with Child Protective Services, spousal manipulationand eventually mental illness. Thoughall important issues, co-writing duo Joel Z. Cornfield and Richard James Zieman may have diluted their intended focus by planting too many different seeds in the garden. Still, as many subjects that are touched upon in its hour and forty-five minute duration, this story, partially inspired from true events, has its share of intense-filled moments, some stemming from sheer misfortune but most from a chain of poor decision making. 

Cole is an autistic boy who expresses his thoughts with a paintbrush and canvas. His mother Mary is trying hard torebound from a string of unwise decisions that puts Cole's future into the hands of the Child Protective Services and, Eric, the eldest son, has all the athletic talent in the world but turns to a life of heroin abuse. George, the boys' gambling addicted father, has left four years ago where he has latched onto a stunning young beauty and convinces her to make pornographic videos for money. After his lengthy hiatus, George soon after returns to his family but with suspicious motives. With the threat of losing her son, Cole, to the system, Mary tries to recreate a healthy family environment. Our George and Mary here are about as far as they could be from the same named beloved couple in It's A Wonderful Life - rich in morale fiber, clean-nosed, thoughtful and family oriented. Perhaps the playwrights purposely played on such a disparity to demonstrate the immense contrast in character and circumstance - the results of love,understanding and sacrifice versus a selfishness to the point of destruction.

This is Dr. Joel Cornfield’s first contribution to the theatre is a tragedy piece but as the writer puts it, “There’s hope springing from tragedy.”

Barring a handful of passionate exchanges betweenmother and son and wife and estranged husband that get pretty penetrating, the two brightest spots in this play are Sarah Bright's demanding portrayal of Mary and Jamie McKinney's heartfelt performance as Eric. Alyssa Thordarson also delivers and is very convincing as Pam, George's seemingly unlikely mistress. The three are able to carry the cast to make this a respectable production along with its story that does just enough to keep it interesting. I do commend the writer's desire to bring to the table so many subjects that warrant concern and more awareness, but in this case slightly less may have been so much more.

Picture Imperfect is being performed at The Athenaeum Theatre through April 4^th. For tickets and/or more show information call 773-935-6875 or visit www.athenaeumtheatre.org.