Mediocrity, is usually the best word most people try and avoid when they aspire to make and or do something great. The idea is that if a person is part of something truly great that idea, performance, or invention will be remembered throughout history. Look at the radio and how it revolutionized how people communicated. This small device was able to bring people from across the country together. It was personified by FDR with his fire side chats in the 1930s. The printing press was able to make it so literature was available to the masses. The iPod changed the way we listened to music. Then there are terrible ideas as well, but we still remember them. The Ford Pinto, the feature length film, The Room (Google it), or the idea that the earth is flat. Then there are those ideas that are just OK. It is that rare space where the work is just decent enough to not be thought of as bad, but is not considered good, and is by no means considered great. This is where Tapped: A Treasonous Musical Comedy joins the ranks of Betamax, the Zune, and HD DVD. All ok in their own right, but outpaced by far superior products on the market.
Tapped is a musical comedy that tells the story of a NSA analyst Mary (Laureen Siciliano) who has been tasked to spy on an old colleague of hers from college named Steve (Max Hinders) or “Stupid Steve” as he often referenced throughout the production. Steve is a brilliant hacker, but has failed often at exposing government conspiracies. He wishes to see himself as the next Edward Snowden by helping WikiLeaks expose the NSA. In typical fashion Mary gets too close, ends up falling for Steve, like she did back in college, and joins his crusade to bring down the NSA exposing how they have been tapping every mobile device in the country. All of this plays out while
All of this plays out against the backdrop of what is happening around the country as well as the ideas of what it takes to keep Americans safe. Mary’s boss Patrick (David Dritsas) is the freedom loving, constitutional bending, fear mongering, caricature that we have come to see time and again in productions about the war on terror. The part is so over the top that at one point he has a musical number to where he puts the fear in all of his subordinates, except Mary, about how none of are safe. He sings and dances as if he is an evangelical preacher entertaining his congregation. While an amusing performance it was, it played heavy handed the way the entire production was. Subtly is something that is production clearly lacks.
The true bright spot however belongs to one Larueen Siciliano who offers a sharp comedic timing as well as a bright voice that matches her character of Mary. Every time Ms. Siciliano enters a scene she immediately owns that particular scene, even if it’s not her scene. Her quick wit timing makes every punchline stronger inevitably making the others around her stronger as well as seem funnier. She is able to turn a throw away joke about wine and turn it into a laugh out loud moment. Her physicality and ability out paced everyone else on stage forcing them to keep up, but none were able to. Everyone else seemed to ham it up, but winking at the fact that they were doing it. It played in a light humorous light, but none of it was out right laughter. It seemed like most of the jokes were going for a chuckle rather than a laugh.
The Theater Wit offers the audience an intimate interaction with the actors and production itself. With the theatre being such a confined space the production team has to get creative in terms of set design, setting the next scene, and the choreography. The first two seemed to work at first, but run into problems when the actors are moving the set pieces and forgetting where to put them, ultimately throwing of the actors blocking. I could have thought that the choreography of the dance numbers would be something to write home about, I was wrong. While all of the dancers are good none of it stands out. It seemed as if most of the dancers in the ensemble had put on tap shoes for the first times in their lives learning to tap dance during rehearsals. The dance numbers were so over the top for being in such space that sitting front row had I stretched my legs out one of them might have tripped over them.
Other than the poor dance routines and one stand out actress Tapped: A Treasonous Musical does not stand out. It could be something to see if you are bored on a Friday night and want something do, but you might end up walking away feeling bummed about how you spent your Friday night. It’s the type of production that when asked about it you simply say, “It was alright. Seeing it once is enough for me.”
Tapped: A Treasonous Musical Comedy is playing at the Theater Wit through July 3rd. You have until then to make up your mind if you really want to see it. If you don’t end up crossing it off your to-do list, you won’t feel sad you missed it. If you end up seeing it, you won’t walk away thinking it was a must see. If this were a movie you would wait until it arrives on Netflix instead of seeing it in theaters. The production’s final musical number, entitled “Fail Big,” accurately sums up this production. It aspires to be something meaningful, but ultimately falls short. You want it to be great, but at the end of the day all you can do is shrug and simply say, ‘meh.’
Crowds will flock to see “Judgment Day,” having its world premiere at Chicago Shakespeare Theater on Navy Pier. While many…
In "Panther in the Sky," playwright Lani T. Montreal masterfully weaves a tapestry of grief, resilience, and redemption through the…
A collaboration of Chicago dance and Germany lighting sculpture live on stage About the Program: This program, set within an…
Broadway In Chicago is excited to announce the pre-Broadway World Premiere of DEATH BECOMES HER is now playing at the Cadillac Palace Theatre…
Blue in the Right Way audaciously chose for their inaugural production a 400-year-old play, WOMEN BEWARE WOMEN, written in 1621…
I think my favorite thing – well, one of my favorite things – about Wyatt Kent’s take on HAMLET is…
Frolicking season is upon us once again and Joffrey Ballet welcomes summer with the return of Alexander Ekman’s “Midsummer Night’s…
As the audience takes its seats we are greeted by an atmosphere of foreboding, a trestle bridge girder to the…
Director Chuck Smith returns to Goodman with another major August Wilson revival–“Joe Turner’s Come and Gone”. This is the second…
The Gift Theatre is pleased to announce its 2024-25 season featuring Suzan-Lori Parks' masterpiece Topdog/Underdog directed by Shanésia Davis and the world premiere of Cygnus by Susan Soon He…
Broadway In Chicago is excited to announce that individual tickets for the world premiere of the first ever touring production…
Full cast and crew have been announced for BrightSide Theatre's upcoming production of JESUS CHRIST SUPERSTAR, the rock opera that…
Chicago Opera Theater (COT), Chicago’s foremost producer of new and reimagined opera, closes its 50th Anniversary season presenting the final performances of…
Tim Rhoze, Artistic Director of Fleetwood-Jourdain Theatre, has announced the company's 2024 season of four productions. The season will open with…
David Williamson, regarded as one of the top magicians in the world today, makes his Rhapsody Theater debut with Ridiculous! Known for his tours…
Curious Theatre Branch is pleased to announce the 35th annual Rhinoceros Theater Festival, May 25 - June 30 at six venues across Chicago. The…
It’s often said that in the workplace you should refrain from talking about politics and religion; too personal, too easy…
BALLET 5:8 is a female - and minority-led ballet company resident at Harris Theatre in Millenium Park. Under the leadership…
When life’s chaos is full of impossible choices, how are we possibly meant to move forward? Brooklyn Laundry is about…
I would absolutely bomb out of jury selection cos I have a very definite bias: I’ve been a fan(atic) of…
You got trouble, my friends, if you’re going to put on Meredith Willson’s The Music Man. If you’re going to…
This year's Alvin Ailey American Dance Theater 65th-anniversary engagement at Chicago's historic Auditorium Theatre held particular importance as it marked…
For the final show of its 30th anniversary season, Trap Door Theatre—the little company that could—has selected a sure-fire hit…
Chicago’s National Landmark Auditorium Theatre (50 E. Ida B. Wells Drive) proudly announces its 2024-25 performance season presenting a vibrant mix of…
Chicago Writers' Bloc has announced the lineup of plays and musicals for its biennial festival of new plays, to be…
If you appreciate classical music and captivating stories about brilliant artists from the past, Hershey Felder’s one-man show, Monsieur Chopin:…
Jackalope Theatre Company continues its 16th season at Edgewater’s Berger Park, 6205 N. Sheridan Rd., with the announcement of the cast…
Born and raised in Mexico City, Dr. Ricardo Rosenkranz, MD, Chicago’s own Physician Magician, will celebrate the festive Cinco de Mayo holiday weekend by…
The Player (Lorenze Rush Jr) has just run into Rosencrantz and Guildenstern with his troupe of players. As he explains…
Those were my first words when I left the performance of COCK to David Zak, producer and resident wizard of…
Does your theatre company want to connect with Buzz Center Stage or would you like to reach out and say "hello"? Message us through facebook or shoot us an email at This email address is being protected from spambots. You need JavaScript enabled to view it..
*This disclaimer informs readers that the views, thoughts, and opinions expressed in the text belong solely to the author, and not necessarily to Buzz Center Stage. Buzz Center Stage is a non-profit, volunteer-based platform that enables, and encourages, staff members to post their own honest thoughts on a particular production.