Displaying items by tag: Kokandy Productions

When my husband announced that his company holiday party this year was 80s themed, my first thought was that it had been done before. I’d donned enough leg warmers and sported enough side ponytails at enough parties. My second thought was why not the 90s? Surely in 2023 people want to worship another decade? But when I read Chicago was getting American Psycho: The Musical, I dug out my favorite oversized blazer and headed to Wicker Park to watch the book-turned-movie-turned-musical that encapsulated and glorified the very decade I dared to criticize..

The cast was led by the showstopping talent of Kyle Patrick as Patrick Bateman, the stylish and sadistic center of American Psycho. Patrick’s performance was riveting, one couldn’t take his eyes away from him. He perfectly captured Bateman’s devilishly attractive and hypnotic presence, pulling you in with his charm and wit, turning psychotically evil effortlessly before falling back into his charm. The range Patrick displayed as Bateman was nothing short of breathtaking. The murderous chemistry between Patrick and John Drea as his nemesis Paul Owen was haunting and electric, their bravados embodying the 80s and their fight staging choreography scarily convincing. The play was accompanied with an indulgent soundtrack with original numbers like “Cards” and “Not a Common Man” along with seminal 80s bangers Everybody Wants to Rule the World and of course Hip to Be Square. You were dancing in your seat along with the cast.

The play was set appropriately on a cat walk, white business cards adorning the path, the cast using the cat walk to seamlessly transition from the Tunnel nightclub Tunnel, to the gym, to the office, to Paul Owen’s apartment, the entrances draped cleverly with white tarp. The choreography, directed by Breon Arzell, was nothing short of art. Arzell was able to take extremely difficult and violent scenes and make them hauntingly captivating. In one particularly sexually violet scene (read the book or watch the film if you are curious about this referenced scene), an adonis-like Patrick puppeteered two women, played by Emily Holland and Quinn Simmons, through a series of graceful movements, simulating a sexual throupling without being obscene, and navigating the violence with dignity, masked through the art of dance. Such scenes were made to be very effective thanks to Kokandy's incredibly talented Intimacy Coordinate Kirsten Baity and Fight Choreographer Kate Lass. 

(left to right) Kyle Patrick and John Dreain Kokandy Productions’ Chicago premiere of American Psycho: The Musical

The book-turned-movie-turned-musical has real staying power. Comments Director Derek Van Barham,  It’s horror, it’s satire, it goes for the guts and getsinto your head. And it’s all tinged with that David Lynchian unease of ‘What is actually happening?’ Extending that question of uncertainty into the live experience, we’re playing with what we show vs. what we don’t show, what you see vs. what you think you saw. A lot is going to be left up to the audience.” American Psycho: The Musical has many themes that are still applicable and relatable today. If I concede that the musical glorifying the 80s is still relevant and significant in 2023, then by proxy the 80s are still relevant and significant today, meaning I must find neon bangle earrings to match my leg warmers this holiday season…

Kokandy Production's American Psycho: The Musical runs through November 26, 2023 at The Chopin Studio Theatre (1543 W. Division St., Chicago). Tickets are available at https://www.kokandyproductions.com/american-psycho/.

*Extended through December 10th

He’s everyone’s favorite optimistic sponge—and he has his own musical. Kokandy Productions' SpongeBob the Musical at the Chopin Theatre is the perfect family summer night out, or the perfect night out for any fan of Nickelodeon’s lovable Bikini Bottom characters.

With bright, colorful costumes and staging, this show is busy and fun to look at. All the blue fringe hanging from the ceiling makes you feel like you’re under the sea, and the costumes invoke the well loved cartoon characters while keeping the looks original and interesting.

(left to right) Frankie Leo Bennett, Sarah Patin, andIsabel Cecilia Garcíai nKokandy Productions’ The SpongeBob Musical. Photo by Evan Hanover.

Living in a pineapple under the sea has never been more stressful. SpongeBob and his friends, the dim-witted Patrick Starr and the bright-witted Sandy Cheeks, take on a volcano that’s about to erupt and threaten Bikini Bottom’s very existence. They get help (and hindrance) from their friends and frenemies, like SpongeBob’s boss Mr. Krabbs and his daughter Pearl, his eternally cranky neighbor Squidward, the Krusty Krabb’s nemesis Plankton and his personified computer wife Karen, plus ever-changing ensembles of other fan favorite background characters from the cartoon.

Normally known for their darker productions, like last year's Sweeney Todd, Kokandy Productions instead brings a bright, colorful, child-friendly story to the stage this summer. But like many of their other productions, there is a high level of inventiveness and physicality in the props and costumes. Directed by JD Caudill, Kokandy's SpongeBob the Musical is an energetic and animated production.

And a lot of that energy comes from the cast, with Frankie Leo Bennett as a lovable and quirky SpongeBob, Sarah Patin as a self-assured Sandy, and Isabel Cecilia Garcia as a dopey but well-intentioned Patrick.

(front, center) Quinn Rigg with (back, left to right) David Lipschultz, QuinnSimmons, Shane Roberie, Maddison Denault, Nicky Mendelsohn, Kelcy Taylorand, TommyBullington inKokandy Productions’ The SpongeBob Musical. Photo by Evan Hanover.

Though the entire cast from the stars to the ensemble are great, my personal favorite is Quinn Rigg as Squidward. Maybe it’s just that as I’ve gotten older I have more of an affinity for the character's cynicism, but Rigg impeccably pulls off the cartoon squid in human form—and even channels John Mulaney. Or maybe Squidward has always sounded like John Mulaney and this show just made me realize it. 

We all know and love SpongeBob, but what about the music? Instead of one composer or a composer + lyricist duo, the score of this show was written by a slew of famous artists, but not reusing their songs in a jukebox musical way. The songs are original, and each one is written by a different artist. There are songs by Panic! at the Disco, Sara Bareilles, T.I., Plain White T’s, David Bowie, The Flaming Lips, Yolanda Adams, Cyndi Lauper, John Legend, and more. So, whether you like the music will depend on what genre(s) of music you like. It takes you from pop to rap to folk to electronic.

It’s a wild ride.

SpongeBob the Musical is playing through September 3, 2023 at The Chopin Theatre. Tickets available at Eventbrite.

Grand Hotel at Theater Wit is a revelation! It shows how much punch you can pack in a storefront stage production with the right mix of great singing talent and artful production.

Kokandy Productions has brought to life the 1989 Broadway musical extravaganza, which traces its roots back through the 1932 MGM feature film (starring Joan Crawford and Lionel Barrymore) to a 1929 German novel.

Grand Hotel is very reminiscent of Cabaret - but that 1966 blockbuster, currently in yet another revival, remains the standard for decadent pre-war Berlin shows. Grand Hotel tracks the passage of some larger-than-life guests during a single weekend in an elegant hotel in 1928 Berlin: a fading Russian prima ballerina; a fatally ill Jewish bookkeeper spending his final days living in luxury; a handsome and conniving, down-on-his-heels, Baron; a corporate executive who turns crooked under business pressures; and an actress (and typist) aiming at Hollywood while resisting the casting couch.

These characters and the Joan Crawford background could easily lead to a high camp meltdown. But director John D. Glover keeps it serious, allowing us to appreciate the artistry of the players. This is no Cabaret, in the sense that there aren't really memorable songs, but we do havve memorable performances. 

The singing is truly spectacular, with amazing voices bubbling up through the versatile chorus members, and real standouts include the wonderful baritone Erik Dohner as the Baron; the rich mezzo soprano Liz Norton as Raefella, the manager of the Russian ballerina; and Jonathan Schwart as bookkeeper Otto Kringelein.

I also loved Jenny McPherson (she plays Tootsie, Sandor, and a telephone operator). "I would like to occupy the royal suite, rather than mop the floors/with the whores," she sings. Pavi Proczko brings real menace to his role as Chauffer; and Jeff Pierpoint and Nick Arceo stand out among the chorus. 

Like Cabaret, the original Broadway production of Grand Hotel garnered lots of Tony Awards including best direction and choreography for Tommy Tune. Broadway was hoping it would repeat Cabaret's tradition, but the material is not at that level.  

Glover and music director Aaron Benham have uncovered magnificent talent in these Chicagoland performers, including Michelle Jasso as fading ballerina Elizaveta Grushinskaya. 

Glover says his vision was "to create a ‘vanished luxury’ and the fever dreams of a world on the brink of depression and war," and indeed this production does that very well. The characters may largely be caricatures, but it’s a great excuse for a musical. Don’t expect any post-show discussions, but do expect to rise and applaud! Grand Hotel runs through May 27 at Theatre Wit in Chicago.

“This world will remember me,” Bonnie and Clyde sing to each other in Kokandy Productions’ presentation of “Bonnie & Clyde” – a musical. Directed by Spencer Neiman, this odd-ball musical makes its area premiere after an unsuccessful Broadway run in 2011. This production also marks the fifth anniversary of Kokandy Productions, now a regular staple of Chicago’s storefront theater scene.

“Bonnie & Clyde” was developed in 2009 by La Jolla Playhouse in California, a frequent incubator for new Broadway work. The show opened officially on Broadway in 2011, but closed after 36 performances. Critics were not especially kind.

Even though it’s not a direct adaptation, it’s nearly impossible not to compare this musical to Arthur Penn’s stylish 1967 film. It’s an American film classic with iconic performances by Faye Dunaway and Warren Beatty. It’s widely considered a turning point in American cinema. The film was focused less on historical accuracy and more on drawing comparisons between the young outlaws and the political awakening of the late 60s. The musical tends to tread on the same territory as Penn’s film but in a less dynamic way.

The issue is camp. Penn’s film is mostly devoid of camp even some fifty years later. “Bonnie & Clyde” the musical feels like two hours of pure kitsch. There’s no discernable reason this story needed to be told to music and unfortunately the empty songs prove that. Neiman’s cast seems to forget that these characters were indeed real people and not cartoon characters to be parodied. The nature of the material isn’t especially satirical, but this cast has decided it is.

Missy Wise as Blanche Barrow pretty much steals the show with her number ‘You’re Goin’ Back to Jail’, but the whole thing feels a bit Disney-fied, considering that the real Blanche Barrow served time for armed robbery.

The two leads Desiree Gonzales and Max Detogne are both incredible performers. Detogne’s voice is perfectly suited for the country-tinged folk rock of Frank Wildhorn’s music. Gonzalas also has a strong voice and makes some genuine choices for Bonnie Parker, adding a real dimension to her that isn’t otherwise in the script. The generic “I-wish” song feels sincere with Gonzalas singing. You will remember her, just like Clara Bow. Detogne also makes it his own. There’s a chemistry between the two that really translates.

If you were just dying to see “Bonnie & Clyde” during its Broadway run in 2011, Kokandy offers up a serviceable production. If you were hoping to gain more knowledge about the infamous star-crossed outlaws, you may be impressed at what playwright Ivan Menchel spins into his version of “Bonnie & Clyde.”

Through October 15 at Kokandy Productions. Theatre Wit 1229 West Belmont Ave.

"The Wiz" is a perfect collision of disco and show tunes. Appearing on Broadway in 1975, "The Wiz" went on to win the Tony for Best Musical. Though it was not the first all-black production on Broadway, the cross-over appeal of its music made it a sensation. A few years later it was adapted for film starring Michael Jackson, Diana Ross and Lena Horn. The film is considerably different than the stage version, for the worse. 

Kokandy Productions' "The Wiz" accentuates all the enduring qualities of the show while adding some modern flare of its own. This has to be the hardest working cast in Chicago right now. For two and a half solid hours director Lili-Anne Brown's cast of talented singers and dancers fill the space with an infectious energy. Sydney Charles as Dorothy is cute and brings a sense of humor to the character, her soaring vocals come to an inspiring crest during "Home." Though, it may well be Frederick Harris in the titular role (in fabulous drag no less) who walks away with the evening's biggest laughs. There's not a sour note in this production and each song is either a powerhouse ballad or a funky dance number. 

One of the show's many pleasant surprises is the costuming and overall aesthetic. This is highly conceptualized version that suits the intimate space at Theatre Wit. Borrowing from 90s-era TLC and blending it with today's street fashion, costume designer Virginia Varland creates a very stylish motif in an otherwise minimal set. The ensemble looks as great as they sound. 

Lili-Anne Brown doesn't complete her update of "The Wiz" with costumes alone. There's some fairly edgy humor written into this production, including a nod to the prevalence of police brutality cellphone videos. This version of "The Wiz" is how it was originally intended to be–for adults. What the movie and the NBC live version miss is a lot of the grown-up humor in the script. After all, this is an urban contemporary version of the Wizard of Oz, it should be cheeky. Miss Brown's vision for Kokandy Productions' "The Wiz" is a lot of fun and keeps its source material relevant. 

Through April 16th at Theater Wit. 1229 W Belmont Ave. 773-975-8150

*Extended through April 23rd

Based on the 1988 cult film “Heathers” starring Wynona Ryder and Christian Slater, the talented cast of “Heathers: The Musical” bursts onto the stage with enough energy to "bully" the audience right back into the mean late 80's when this particular tale of murder in high school first raised the issues of teen cruelty over twenty-five years ago. Dark and questionable is the subject matter that it be made into a musical, but the show does have its moments. After all, we are talking about a film that may have forewarned us of the tragic school shootings to come in its wake. 

Veronica, the nerdy girl who becomes a "Heather" at the expense of her friendship to the truly kind "fat girl" in her class is well played here by Courtney Mack. Mack shows a full range of emotions as she realizes what has begun as simple teen angst and bullying has turned her new outsider boyfriend, J.D., whom she meets hanging around a 7-11 store all day into a serial murderer. Adding to Mack’s solid performance, Chris Ballou also does a fine job in taking on the role of J.D..  

Haley Jane Schafer, Rochelle Therrien and Jacquelyne Jones, are each fantastic as the “Heathers" - the meanest, prettiest girls in school who rule with an iron lipstick case. Each of the Heathers' has her own unique flavor of comedy and delivery and each are very good dancers as well as vocalists.

That said, the set which was a big colorless lump full of doorways did not make you feel you were in a high school at all and was actually a distraction at times. Also, the costumes the Heathers DID wear were great - very sexy period costumes, but then they never changed clothes until almost the end of the show, leaving some disappointment. As gorgeous, skinny, fickle fashion mongers, this inconsistency made the show feel much to be desired when it came to dressing them as the story progressed with the lack of colorful, sexy clothing and accessory changes as occurs in the movie and would be a big part of their real high school lives. 

The songs may not have been on the most memorable side, but the show did have a few good laughs. There was some terrific physical comedy in the slow motion fight scene between the two jocks who terrorize all the girls in school with jokes about date rape, etc. 

Certainly a challenging task at hand, James Beaudry's direction in this small venue with so much young and energetic talent falls short in that it seemed the play starts at a very high level of energy and volume and continues at that exact same volume even during the ballads. Instead, there needed to be some genuine reflection and time to rest for the characters to be fully formed and also to rest the audience’s ears – simply put, more dynamics. 

All in all, this cast did a great job with the materials they were given and delivered a funny, bitter and scary version of what life in high school was like then and now. See "Heathers" with the expectation of a few decent yuks, a handful of entertaining musical numbers ("Big Fun" comes to mind) and a sometimes pretty accurate nostalgic peek at high school in the late 1980's.   

Kokandy Productions of “Heathers: The Musical” is being performed at Theater Wit through April 24th. For more show information, visit www.theaterwit.org.