Displaying items by tag: Justin Brill

I am from Miami, Florida and after moving to Chicago there was a time when I genuinely looked forward to the first snow of the year. I’d also wish for snowfall each year to bring us a white Christmas here in Chicago and this lovely production of ‘White Christmas’ at Theatre at the Center brought that joy back into my mind for the first time in years.

The story is about two servicemen, Bob (Matt Edmonds) and Phil (Justin Brill), who become big time entertainers after their army days. From performing in USO shows for fellow military troops during World War II to becoming a featured act on the Ed Sullivan show, the two pals are now looking for a "sister act".  It isn’t long before the two stumble upon Judy and Betty (both played wonderfully by Casiena Raether and Erica Stephan) and wind up not only finding two talented women to perform with but also finding true love. The tale is a timeless one thanks to Irving Berlin's classic music – and this cast does the book and lyrics of Berlin justice.

When Bob and Phil run across their old General, Henry Waverly (Neil Friedman), they happily offer to help out by lending their star presence by performing at his lodge in the hopes of attracting more guests. The retired General is on hard times having sunk his entire life saving into the lodge. Thankfully he has been keeping his head just above water thanks to the help he receives from his ever-loyal lodge hand Martha Watson (brilliantly played by Glory Kissel). It isn’t long before Bob and Phil enlist Judy and Betty and a host of fantastic dancers to put on the show of a lifetime at the General’s lodge. It is nothing short of touching to see the dedication Bob and Phil have towards General Henry Waverly.

I would totally see this production twice just to hear the everlastingly touching “How Deep is The Ocean”:

"How much do I love you? I'll tell you no lie

How deep is the ocean? How high is the sky?

How many times a day do I think of you?

How many roses are sprinkled with dew?

How far would I travel to be where you are?

How far is the journey from here to a star?

And if I ever lost you, how much would I cry?

How deep is the ocean? How high is the sky?"

“Blue Skies” was another showstopper with the entire cast tapping in blue and white to Irving Berlin's classic song about the very real exciting effects of new love taking place on the loving new couples:

"Never saw the sun shining so bright

Never saw things going so right

Noticing the days hurrying by

When you're in love, my how they fly

Blue days

All of them gone

Nothing but blue skies

From now on!"

(from lerft) Erica Stephan as Betty and Casiena Raether as Judy. Photo by Guy Rhodes

There was a palpable chemistry in the humorous courtship between the wry, dry Phil and slightly uptight and business-oriented Betty, which the whole audience picked up on and really enjoyed watching develop scene by scene.

Director Linda Fortunato is wisely able to draw out the fun in her own unique way from each song and also includes a few numbers cut from the motion picture, like "Falling Out of Love Can be Fun,” sung by Martha, Betty and Judy. The song gives the thoroughly modern advice, way ahead of it's time, that if you are heartbroken by one man you can pick yourself up and try again without shame.

"When you've find your lover has gone

Get your second wind and go on

There's an old affair that is there for renewing

In your grief, do you know what you're doing?

Falling out of love can be fun

Soon, you'll be swinging in a hammock on a porch

One arm wrapped around someone else

The other arm carrying a torch

Love can give a lady a clout

And she may be down but not out

Get yourself a date, don't you wait for the count of ten, then

Falling out of love can be fun!"

Talented Artistic Director Linda Fortunato wears multiple hats not only directing this production but providing its dazzling choreography. William Underwood gives this show its musical direction. 

Special kudos must go to Glory Kissel as the rowdy Senior hotel concierge for her entire performance and especially the showstopper "Let me Sing, I'm Happy." Kissel shows the youngsters in the cast just how it's done with her amazing dance and superb physical comedy skills while singing out about the pure Joy of being alive and happy.

The super talented ensemble blows everyone away with one fantastic tap or dance number after another.

It is truly thrilling to watch all those tapping feet moving in perfect unison. Other great numbers include “Heat Wave,” “I Love a Piano” and of course, the title song “White Christmas”, a song that Matt Edmonds sings to perfection as he captures the period so well with both his singing and acting.    

I can't recommend this production highly enough for audiences of all ages who are looking for a happy, fun-filled and joyous celebration of LOVE and of course SNOW, during this cold and oft-strenuous Holiday season. 

‘White Christmas’ is being performed at Theatre at the Center in nearby Munster, IN through December 22nd. For more information visit www.theatreatthecenter.com.

The current production of 42nd Street at Drury Lane Theater left me breathless! With book by Michael Stewart and Mark Bramble, music by Harry Warren and lyrics by Al Dubin, the newly updated and improved 42nd Street blends different periods of dance from the sixties to the present including some of the best tap dancers (don't call them hoofers) I have seen assembled for one show. 

Telling the age-old fantasy of Broadway performers everywhere as newcomer to New York, Peggy Sawyer, gets her chance at stardom and saving the show when the star falls during rehearsals and breaks her ankle. But this version is sympathetic to both the aging star, Suzzanne Douglas as Dorothy Brock, who has worked a long time and entertained the advances of a sexist producer just to finally have her stage time. Douglas has a beautiful rich, soulful singing voice and is very beautiful in this role. 

Kimberly Immanuel as Peggy Sawyer is also seen more realistically as a starving artist who just wants a break instead of a conniving backstabber out to hurt the leading lady. She is cute and unassuming as the newcomer who really has flying feet. Immanuel does a great job staying likable in her singing and acting and then dazzles the audience with some "out of this world" tap dancing which truly pleases the ears and eyes.  

Gene Weygandt as Julian Marsh, a Broadway director with the power to make stars and break them, also turns in a lovely performance with top-notch vocals, which make the character of Marsh more concerned with the dream world of Broadway life and less scary and sexist than I have seen director portrayals in other productions. 

This spectacularly energetic, colorful and sparkly, yes sparkly, production is directed artfully by Michael Heitzman, with choreography by Jared Grimes, music direction by Roberta Duchak, scenic design by Collette Pollard, costume design by Emilio Sosa, lighting design by Mike Baldassari, sound design by Ray Nardelli, and music arrangements by Everett Bradley.

The set and lighting changes and costume design really do satisfy Chicago audiences’ need to see productions that dazzle just as much as the run on Broadway on every level and leaves the audience energized and happy to have seen this show. 

I want to name the other stars and the ensemble because every single character was fully drawn in this wonderful production with Phillip Attmore as Billy Lawler, Justin Brill as Bert Barry, Donica Lynn as Maggie Jones, Brandon Springman as Pat/Ensemble, Cedric Young as Abner Dillon, Erica Evans as Andy Lee/Ensemble, and Sierra Schnack as Annie/Ensemble. The cast also includes Bret Tuomi, Time Brickey, Lamont Brown, Tristan Bruns, Joe Capstick, Joel Chambers, Andrea Collier, Gabriela Delano, Annie Jo Ermel, Rachel Marie LaPorte, Mandy Modic, Thomas Ortiz, Allie Pizzo, Marisa Reigle, Anthony Sullivan Jr., and Davon Suttles.

Full of fun hits such as “We’re in the Money”, this is a show that doesn’t stop. One of the most memorable scenes I have ever witnessed is a highly complex, mind blowingly and highly difficult six person tap piece that eventually turns into a full cast number worthy of anything I have seen in Broadway productions or at larger theaters in downtown Chicago or New York.

I highly recommend this run of 42nd Street at The Drury Lane for an exciting, feel good, upbeat Holiday spectacle about the joy of showbiz as we used to all envision it unfolding for a young star in the making. 

42nd Street is being performed at Drury Lane Theatre in Oakbrook through January 7th. For tickets and/or more show information visit www.drurylanetheatre.com.

It’s been quite some time since “Chicago” has actually been performed in Chicago (or thereabouts), but after a ten-year road in obtaining the show’s rights, Drury Lane Theatre in Oakbrook brings home the popular musical created in 1975 – and we are glad they did. With music by John Kander, lyrics by Fred Webb and a book by both Webb and super choreographer Bob Fosse, the musical “Chicago” is based on a 1926 play of the same name. Inspired by actual criminals and crimes reported by reporter Maurine Dallas Watkins, the story revolves around the notion of the “celebrity criminal” while mocking the Chicago justice system that was in place in the 1920’s, an era where it was also widely suspected that an attractive women could not be convicted of a heinous crime, like say, the murder of her lover or husband. 

In “Chicago” the story starts off with a “bang” when Roxie Hart (Kelly Felthous) shoots dead her lover on the side. She is quickly arrested and held in Cook County Jail while awaiting trial for murder. In an age when the press sensationalized homicides committed by women (good ol' media), the public quickly buys into the hype making an instant celebrity out of Roxie, and as starved for stardom as the former dancer has always been, she thrives on the new-found attention. In the “pen” Roxie meets several colorful characters, but none as tough as Velma Kelly (Alena Watters), a socialite divorcee and former cabaret singer who is currently the talk of Chicago for the high-profile murder she committed. Velma barely gives Roxie the time of day, instead giving her the cold shoulder. But when Roxie’s popularity soars as the “new story” and Velma’s diminishes, it’s Velma who wants to partner with Roxie for a song and dance nightclub act, this time receiving the cold shoulder from the new celebrity. 

Roxie’s only way to avoid a sentence of death by hanging is to hire the flashy, fast-talking lawyer, Billy Flynn (Guy Lockard) for five thousand dollars. Well beyond what the couple can afford, Roxie’s doting, naive and “invisible” husband Amos (Justin Brill) scrapes up what he can and promises Flynn to pay the rest when he can. From there, Flynn turns the case into a dog and pony show, equating the trial as a “three-ring circus”.  

Watters stuns on several occasions as sassy Velma Kelly, winning the audience over almost immediately after a dazzling performance of the musical’s opening number “All That Jazz”. Possessing just the right dose of sexy attitude, Kelly impresses both vocally and in her dancing, her performance nothing short of riveting. As notable as Watters’ portrayal of Velma Kelly, Felthous also knocks the ball out of the park as Roxie Hart, pairing perfectly with her fellow caged dame and giving the show a rock ‘em sock ‘em one-two punch. Felthous convinces as one stricken by delusions of grandeur, confusing the popularity of her murder case as celebrity fame, putting forth an overall display of well-tuned comedic timing to go along with her own vocal prowess and dance ability. As fun to watch as the two are, Watters and Felthous really bring it home in their physically-charged routine “Nowadays”. 

He’s charming, good-looking and possesses a silver tongue that can sway even the toughest juries. Well-cast, singer/songwriter Guy Lockard brightly shines as the smooth defense attorney, Billy Flynn, and gives the show yet another boost, particularly in his courtroom maneuvering melody “Razzle Dazzle”. Justin Brill also contributes nicely in his funny depiction of Amos Hart, a man who is considered so undistinguishable by others he aptly refers to himself as “Mister Cellophane” in one of the show’s most humorous numbers. E. Faye Butler’s strong interpretation of Matron Mama Morton is pivotal, Butler crushing it in the number “When You’re Good to Mama”, a jailhouse tutorial for newly imprisoned Roxie Hart. A talented ensemble also brings another strength to the production in their many alluring dance numbers, perhaps most markedly in “Cell Block Tango”, a sultry ode to the woman prisoner during the revolutionary Jazz age.  

This new staging of “Chicago” is colorful and richer than ever thanks to an artistic creative team that includes Kevin Depinet (Scenic Design), Sully Ratke (Costume Design), Lee Fiskness (Lighting Design), Ray Nardelli (Sound Design), Cassy Schillo (Properties Design), Claire Moores (Wig Design) along with Production Stage Manager Larry Baker. 

“Chicago” is an energy-driven musical that is sexy, fun and truly memorable. Filled with a slew outstanding performances, inventive choreography and a set list that is justly contagious, Drury Lane’s “Chicago” is a can’t miss thrill ride. 

The Roaring Twenties are back...in high style. 

“Chicago” is currently being performed at Drury Lane Theatre in Oakbrook through June 18th. For tickets and/or more show information, click here. 

Throughout the years, we have seen all kinds of homages to Elvis Presley whether it be Elvis impersonators, biographical films, Elvis night at U.S. Cellular Field and, of course, theatrical productions. Of these few tribute samples, some are serious and sensitive while others more tongue-in-cheek. “All Shook Up”, a musical using the music of Elvis, is definitely the latter. Now playing at Theatre at the Center in Munster, Indiana, “All Shook Up” is a story about an Elvis-alike roustabout who comes across a square town where the tightly-wound mayor has unjustly imparted laws against innocent activities such as kissing in public and dancing or the interracial mixing of partners. Though the plot line is as silly as it gets with unlikely, but still predictable love stories breaking out everywhere, it is hard not to be entertained by the music alone.

David Sajewich plays our hero Chad, the leather jacket clad bad-boy drifter with greased back hair who hops from town to town via his motorcycle with the purpose of challenging authority by infusing fun and excitement into boring and restricted communities. Sajewich is very funny in the role, ever so naturally delivering spot on physical comedy and one hilarious line after another. He also sings several Elvis classics with a good deal of enthusiasm, his vocals finding suitable range for each number despite not having the most powerful of voice. In the show’s opening number, “Jailhouse Rock” we quickly realize Sajewich will not be attempting to sound like Elvis Presley opting to use his own singing voice (writer or director’s choice?), leaving a small amount of disappointment for those who had hoped the story’s character so obviously designed around Elvis would kind of sound like him, if even in a comical way.

Like Abba’s music in Mamma Mia! or Green Day’s in American Idiot, the music of Elvis Presley is transformed into massive stage numbers with changing leads, large choruses and big time dance choreography. It was also refreshing to see such an obscure choice of Elvis Presley songs used for this production rather than only the obvious choices. “All Shook Up” included favorites like “Don’t Be Cruel”, “Love Me Tender”, Can’t Help Falling in Love”, "A Little Less Conversation” and “It’s Now or Never” but also added lesser known songs (at least outside the Elvis world) such as “Follow that Dream”, “C’mon Everybody”, “Devil in Disguise” and a heartfelt rendition of “If I Can Dream”.

Outside of the campy over-the-top story that is on the borderline of ridiculousness, despite its borrowed storylines from Shakespeare’s "Twelfth Night," "As You Like It" and "A Midsummer Night's Dream", “All Shook Up” includes several likeable characters that are fun to watch and listen to, especially Bethany Thomas (Sylvia) with her gutsy and very impressive singing voice. Callie Johnson also shows off her comic and singing ability as tomboy motorcycle mechanic Natalie Hallow who is crushing hard on Chad while Justin Brill as the geeky, love stricken Dennis is also enjoyable to watch. Matthias Austin gets some of the biggest laughs as Natalie’s square turned rocker father Jim, as deserved, but Sharriese Hamilton (Lorraine) might just have the best comic timing of the bunch.

Cheesy story and all, “All Shook Up” is a very entertaining show with great music, charm and lots of very funny moments. It’s always nice to see the music of Elvis passed on to new generations and this show is a perfect tool for doing so, as it is a production suitable for all ages alike.    

The rock n’ roll hit Broadway musical “All Shook Up” is being performed at Theatre at the Center through August 16^th Wednesdays through Sundays, including weekend matinees. For tickets and/or more show information, visit www.theatreatthecenter.com.