Displaying items by tag: Marriott theatre

Beloved children’s author Roald Dahl’s timeless story of the quirky and mysterious candy-maker looking for his heir apparent comes to life in an energetic and magical performance in the Theatre for Young Audiences’ musical adaptation of Charlie and the Chocolate Factory now on stage at the Marriott Theatre in Lincolnshire.

The 70-minute-long performance is a wonderful mix of old and new. Older members of the audience appreciated the familiar tunes from the 1971 film starring Gene Wilder, such as the iconic “The Candy Man,” “I’ve Got a Golden Ticket,” and “Pure Imagination” while the younger audience was captivated with the “Queen of Pop” (and next “It Girl”), Violet Beauregarde, Mike Teavee’s all-things techno obsession, and the very spoiled and demanding antics of Veruca Salt.

Upon entering the theatre, with the centerstage bathed in cool purple lighting and musical tributes featuring candy playing in the background, the audience is immediately transported to another place and time, where “pure imagination” reigns. The magic continues as the show opens with a flash news report from “Cherry Sunday” (Megan Long) about the famed candy-maker’s search for a suitable replacement to take over his workshop.

A delightful chorus of Oompa-Loompas, bedecked in colorful multi-patterned coats, jaunty bowler hats, and oversized sunglasses, appear in every aisle, allowing the young audience to feel part of the show, as they introduce us to the main man himself. Willy Wonka, wonderfully played by George Keating, brings just the right amount of quirkiness, charm, and empathy to his character.

The story continues as Mr. Wonka announces a worldwide contest, hiding five golden tickets in his chocolate bars. The lucky “finders” will be invited to visit his famed factory and be eligible for the grand prize. We meet young Charlie Bucket, played by the very talented Kai Edgar, who lives for Willy Wonka chocolate bars and dreams about winning a ticket. But his family is so poor that they can only afford to buy Charlie one candy bar on his birthday.

Charlie shares his dreams for helping his family and writes a letter to Mr. Wonka, telling him about the many wonderful candy confections he would invent for each family member, then sends it sailing out into the world, knowing there is little chance that he would ever win.

And, as the four golden tickets are quickly won by an assortment of spoiled, ill-mannered kids from around the world – the sausage-consuming Augustus Gloop (Elias Totleben), the foot-stomping demanding Veruca Salt (Elin Joy Seiler), the gum-chewing social-media queen Violet Beauregarde (Avelyn Lena Choi), and the techno-obsessed Mike Teavee (Gordon Henry Heisler) -- Charlie’s hopes dim. And when he, at last, does receive a Wonka bar, alas, no golden ticket. Charlie is distraught.

Yet, the kindly candy-story shopkeeper, who is unbeknownst to Charlie is Mr. Wonka himself, drops a dollar bill, and with it, Charlie buys the very last Wonka bar in the world. To his amazement, Charlie wins the last golden ticket. The audience broke into delighted applause as Charlie and his grandfather cavort around the stage in celebration.

Under the skillful direction of Amber Mak, who also choreographed the show, the magical world of Willy Wonka’s mysterious chocolate factory comes to life through a combination of artful staging, colorful costumes, and confectionary props that looks almost good enough to eat. Throw in some bubbles and the clever use of large lighting panels that surround the stage and enhance the action on stage, and voilà – your imagination takes you right into the very heart of Wonka’s enchanted workshop.

The audience squealed in part dismay, part approval, as one by one the obnoxious cadre of children, brilliantly played by Totleben, Seiler, Choi, and Heisler, were eliminated from the competition because they crossed the line and broke the rules. And yes, thanks to an ingenious costume design, the gum-chomping Violet Beauregarde, does turn into a blueberry to the wonder of the crowd.

Finally, Charlie and his grandfather are the only ones left, and Mr. Wonka invites them into his sacred workshop where all the delicious designs are born. Leaving his book of creations behind, with a warning not to look inside it, Mr. Wonka and the grandfather go off to sign some papers for awarding the grand prize. As Charlie walks toward the forbidden book, the audience yelled at him to stop, but of course, he cannot help himself and opens the book.

When he discovered there were empty pages in the notebook, Charlie begins to sing again of his own dreams and visions for confectionary creations. When Mr. Wonka returns, rather than banishing Charlie from the factory as he did the other children for disobeying his rules, he tells Charlie that he indeed has won the grand prize because of his good heart and his pure imagination. Charlie is now the next “Candy Man” and inherits the factory.

As the young crowd applauded its approval and left the theatre thoroughly satisfied and entertained, the words to “The Candy Man” came back to me, “Who can take tomorrow and dip it in a dream?” The Candy Man can, and for one magical hour, the accomplished cast of the Marriott’s Charlie and the Chocolate Factory did as well.

Charlie and the Chocolate Factory Theatre for Young Audiences is running through March 28 at the Marriott Theatre, located at 10 Marriott Drive in Lincolnshire. Performances take place on most Wednesdays through Sundays at 10 am with select 12:30 pm performances. Visit www.marriotttheatre.com or call 847.634.0200 for the exact schedule, as show times and dates may vary.

This review is proudly shared with our friends at www.TheatreInChicago.com.

Back in simpler times, what seems like decades ago, during a global pandemic, I remember watching an NPR Tiny Desk Concert featuring the Broadway cast of Little Shop of Horrors. In the middle of the string of incredible songs from the show, the songs’ composer Alan Menken sat down at the piano and, before playing it, discussed how “Somewhere That’s Green” was a classic “I Want” song, one that enlists us, the audience, on a journey to fulfill a dream.

“Somewhere That’s Green.” “Part of Your World.” “Sante Fe.” Some of my favorite songs, all written by Menken and Howard Ashman. All of them, the spunky upstart in a big, bad world dreaming that the sun’ll come out tomorrow. That things’ll get better. The sort of dreamy songs and dreaming characters and dreamed up worlds that are the reason we go to the theater—the sort of theater that the Marriott Theatre always does right and certainly does in their current production of Little Shop of Horrors.

That dreaming—sweet, delusional, stubbornly human—sits at the heart of this production, anchored beautifully by Jackson Evans’ Seymour. Evans plays Seymour as a cartoonish nerd, yes, but also as an everyman in the truest sense: gentle, unsure, but never empty. His Seymour is the kind of guy you root for, because Evans lets us see the decency beneath the desperation. Even as the body count rises and the moral compromises pile up, there’s something achingly recognizable about his Seymour. He’s all of us.

Opposite him, Maya Rowe delivers a quietly devastating Audrey. “Somewhere That’s Green” lands here not as a kitschy parody of 1950s domestic fantasies, but as a heartbreakingly sincere confession—and at the end it felt and looked like she was singing it right to me. Rowe resists the temptation to overplay Audrey’s quirks, instead grounding her in a bruised realism that makes her longing feel earned. When she dreams of a life that includes frozen dinners and a plastic sofa, Rowe is reminding us that while Little Shop of Horrors may be funny and absurd, it’s also a story about people like each of us, people dreaming of something better. (Side note: A chance encounter in a theater hallway post-show found Rowe’s actual persona as sweet as her onstage Audrey—taking a moment to take a photo with my young daughter and offering words of encouragement to her about her own theatrical dreams.)

Seymour and Audrey’s grounding make the production’s comedic turns all the more effective, particularly when longtime Marriott favorites Andrew Mueller and Mark David Kaplan enter the fray. Mueller brings infectious energy and sharp comic timing—not only to Orin, the biker/dentist/villain whose portrayal by Steve Martin delighted me as a kid), but to a slew of other characters, while Kaplan once again delights with his own comedic and vocal talents. Their work fills out the Skid Row world that we inhabit for a couple of hours without ever pulling focus from its emotional center.

And then, of course, there’s Audrey II, the most iconic carnivorous plant in musical theatre history. The combination of Lorenzo Rush’s velvety, menacing voice work and the precision of the puppet operation is nothing short of thrilling. The puppeteers both sink into the background and provide their own characterizations as leafy parts of Audrey II’s anatomy. The plant feels alive in an unsettling way, its charisma as seductive as its hunger is terrifying. Rush’s performance finds the perfect balance between playful swagger and genuine menace - the audience enjoying the sound of the voice even as we recoil from what it represents. (Although Audrey II’s hilarious pre-show no-phones-or-posting warning seemed to have been unheeded by several oblivious influencers on opening night.)

Still, the beating heart of this Little Shop belongs to the trio of Crystal, Ronnette, and Chiffon. Lydia Burke, Daryn Whitney Harrell, and Miciah Lathan deliver a masterclass in ensemble performance, functioning as Greek chorus, Motown girl group, and omniscient narrators all at once. Their 60s-period-correct harmonies are immaculate, their energy is electric, and each of their vocals are utterly commanding.

All of this talent is corralled and focused by Tommy Rapley’s direction and choreography, which keep the production moving, with the intimacy and magic unique to the Marriott’s in-the-round design. The set design creates a mid-century Skid Row that’s a world where our heroes live. And all of the characters - heroes or villains - are beautifully costumed by Amanda Vander Byl, with amazing wigs and makeup by Miguel A. Armstrong being especially delightful. Meanwhile, the orchestra - so often an unsung hero at the Marriott - delivers Menken’s score with precision, swelling where it should and pulling back when restraint serves the story better.

What ultimately makes this production of Little Shop of Horrors resonate is its refusal to treat the show as a novelty. Yes, it’s funny. Yes, it’s outrageous. Yes, it involves a singing plant from outer space. And yes, the stage ending’s a bit different than the one I remember at the movie theater from my own childhood. But Marriott’s production understands that behind all of this, Little Shop of Horrors does what all great musical theater should do - take its audience on a beautiful journey through a world populated by talented artists whose dreams and desires aren’t that different from our own. Come journey with Marriott Theatre to somewhere that’s green, as Little Shop of Horrors runs now through March 15.

Million Dollar Quartet Christmas brings the legends back together - Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins - for a high-energy holiday jam at Sun Records in Memphis, Tennessee. Packed with rock 'n' roll hits and festive favorites, this jukebox musical delivers a nostalgic blast of seasonal cheer. Now staged in the round at Marriott Theatre, it’s a toe-tapping celebration you won’t want to miss.

This thrilling holiday musical whisks audiences back to December 4, 1956, inside Memphis’s iconic Sun Records studio, where the birth of rock ‘n’ roll gets a festive twist. Framed as a lively holiday reunion of Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins, the show plays like a jukebox time capsule - glittering with tinsel, rhythm, and seasonal joy. The studio glows with holiday charm - garlands strung, mistletoe dangling, and a decorated tree tucked in the corner - as four rock ‘n’ roll legends reunite to trade stories, revisit Christmases past, and muse about the road ahead. Their banter is light, their bond electric with nostalgia, and every song reverberates with the unfiltered energy of icons at the height of their powers.

Framed as a rockin’ ride through Christmas past, present, and future, the show fuses tender reflections with turbo-charged takes on holiday favorites and golden-age rock hits. Each legend infuses the stage with their signature sound, transforming timeless tunes into pulse-pounding celebrations of the season - and the rebellious heart of rock ‘n’ roll.

Million Dollar Quartet Christmas at Marriott Theatre ignites the stage with a high-voltage blend of rock ‘n’ roll swagger and holiday spirit. Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins deliver powerhouse performances that showcase their iconic styles while wrapping the season in nostalgic charm. Alongside the show’s signature hits, audiences are treated to festive favorites like “Blue Christmas,” “Santa Claus Is Back in Town,” “Boogie Woogie Santa Claus,” “Run, Rudolph, Run,” “God Rest Ye Merry Gentlemen,” and a rollicking mashup of “Rockin’ Around the Christmas Tree” and “Jingle Bell Rock.”

This cast doesn’t just shine - they explode off the stage. Million Dollar Quartet Christmas blazes to life with a powerhouse ensemble that doesn’t imitate rock ‘n’ roll royalty—they channel them. With razor-sharp musicianship, magnetic charisma, and a sleigh-load of seasonal swagger, these performers ignite a musical storm that’s both heartwarming and high-octane. It’s not just a performance - it’s a full-blown holiday revival of rhythm, soul, and rock ‘n’ roll cheer.

Let’s raise the curtain on this extraordinary cast - each performer a vital spark in the blazing brilliance of Million Dollar Quartet Christmas.

JP Coletta plays Jerry Lee Lewis and detonates onto the stage with a performance that’s equally volcanic and virtuosic. From the moment his fingers hit the keys, it’s clear we’re in for a wild ride: he attacks the piano with manic glee and devilish precision, channeling the raw, unfiltered spirit of rock’s original wild child. Every note ricochets with rebellion, every flourish drips with swagger, and every sideways grin feels like a wink to chaos itself. Coletta’s portrayal is a masterclass in musical mayhem - blistering, magnetic, and utterly irresistible. By the end, the piano’s smoking, the audience is beaming, and the ghost of Jerry Lee is surely somewhere backstage, grinning in approval.

As Carl Perkins, Trevor Lindley Craft brings a cool, soulful swagger, anchoring the show with crisp guitar licks and vocals laced with rockabilly grit. He’s the ensemble’s steady heartbeat - cutting through the chaos with finesse, style, and a quiet confidence that keeps the rhythm grounded. Whether trading riffs or harmonizing with the quartet, Craft exudes the kind of understated charisma that lets the music speak volumes.

Michael D. Potter steps into Johnny Cash’s boots with quiet power and commanding presence. His voice rolls in low and steady, like distant thunder on a Tennessee night, and his portrayal hums with authenticity. Potter doesn’t overplay the legend - he funnels him, letting the stillness between notes carry as much weight as the music itself. Stoic yet stirring, he draws the audience in with a magnetic gravity that feels both timeless and true.

Colton Sims doesn’t just impersonate Elvis Presley - he inhabits him with velvet vocals and hip-shaking bravado along with a gaze that could melt vinyl. From his first entrance, Sims radiates the kind of stage command that made Elvis a cultural phenomenon. His voice smolders, his movements sizzle, and his charisma is pure dynamite. It’s a performance that balances swagger with sincerity, capturing the King in all his electrifying glory.

As Elvis’ girlfriend Dyanne, Teah Kiang Mirabelli is a revelation. She infuses the stage with elegance, wit, and vocal brilliance, elevating every scene she’s in. More than just a supporting role, Mirabelli brings emotional depth and radiant charm, offering a counterpoint to the testosterone-fueled jam session. Her solos soar with precision and passion, and her presence adds a layer of warmth and complexity that rounds out the show’s dynamic pulse. Mirabelli is especially adorable during her cute, mandolin-playing Hawaiian themed number “Mele Kalikimaka”.

Ross Griffin grounds the show with quiet intensity as Sam Phillips, the visionary behind the music and the man holding the emotional reins. His performance is taut, urgent, and deeply human - a portrait of ambition, loyalty, and the weight of legacy. Griffin narrates the story; he lives in its tension, embodying a producer torn between past glories and future dreams.

Rounding out the ensemble with flair and finesse are Jed Feder as Fluke and Cody Siragusa as Brother Jay. With razor-sharp timing, rhythmic fire, and a dash of comic mischief, they keep the backbeat tight and the energy sky-high. Whether laying down grooves or landing punchlines, they’re the unsung heroes who make the whole jam session sing.

Together, this cast absolutely ignites. Every note, every gesture, every glance is charged with passion, precision, and holiday joy. It’s a Christmas musical miracle wrapped in tinsel and rock 'n' roll. The actors’ live musical performances - executed with impressive skill - infuse the production with an electrifying energy. With guitars in hand, a stand-up bass thumping, and drums driving the rhythm, the stage often pulses with the raw excitement of a live concert.

Under the spirited direction of Scott Weinstein, this holiday edition of Million Dollar Quartet strikes a joyful chord between festive fun and nostalgic reverence. Weinstein orchestrates the production with a keen sense of pacing and emotional texture, allowing the show to glide effortlessly from quiet, intimate moments to full-throttle rock ’n’ roll revelry. Whether it’s a tender ballad shared under the glow of Christmas lights or a raucous jam session that rattles the rafters, each scene is staged with precision, heart, and a wink of holiday mischief. The result is a dynamic, feel-good celebration that honors the legends of Sun Records while wrapping the audience in the warm glow of seasonal spirit.

Before the curtain rises, treat yourself to a festive feast at Embers Christmas Grille, the seasonal pop-up nestled inside the Lincolnshire Marriott Resort - just steps from the theater. Offered Wednesday through Friday, this holiday dining experience features a three-course prix fixe menu for $49 per person, served with a generous helping of cheer. Each dish is playfully named and thoughtfully crafted, blending seasonal inspiration with upscale comfort. With options spanning beef, chicken, and fish, the menu offers a whimsical twist on traditional holiday fare - perfect for theatergoers looking to savor the spirit of the season in style.

Million Dollar Quartet Christmas is holiday fun at its fullest.

Highly recommended.

For tickets and/or more show information, visit https://www.marriotttheatre.com/show/million-dollar-quartet-christmas.  

It’s always risky to take a familiar story and translate it from one medium to another, in this instance from film to stage. Will the adaptation do justice to the story? Will our favorite characters be recognizable to us? Will we walk away happily satisfied with the end result?

I can honestly say for devoted fans of Disney’s Pixar film Finding Nemo, both young and old, that in the Theatre for Young Audience’s musical adaptation now on stage at the Marriot Theatre in Lincolnshire, the answer to all those questions is a resounding YES!

Under the masterful direction of Amber Mak, who also choreographed the show, the underwater world of the coral reef, home to Marlin and his son Nemo, comes to life through the ingenious use of puppetry, colorful costumes and props, along with the skillful use of lighting.

For the uninitiated, Finding Nemo relates the story of an overly cautious and very serious Clown Fish, Marlin, who has promised after a barracuda attack wiped out his entire family save one, that nothing will ever happen to his only remaining son, Nemo. Nemo, who longs for adventures of his own, swims off the coral reef and is caught and taken to far-away Sydney. What follows is Marlin’s epic journey to find his son, where he is joined by a memory-challenged Blue Tang, Dory, whose unfailing optimism and faith in Marlin, propel the two onward.

From the opening to the close, the young audience was enchanted by the cavalcade of sea creatures that paraded across the stage – seahorses, sting rays, octopuses, as well as a wide variety of fish. Our favorites are there as well – the jellies, creatively portrayed using clear umbrellas, the chill sea turtles, Bruce, the somewhat reformed “fish are not food” shark and his friends, and of course, Dory.

Because the production is geared for a younger audience with a run time of about an hour, the storyline is somewhat truncated. Instead of finding himself in an aquarium at a dentist’s office, Nemo is taken to the Syndey Aquarium, where he meets Gill and the other Tank Gang, joining their efforts to escape and return to the sea. And Marlin and his plucky companion Dory quickly move from one encounter to another.

The addition of an energetic and up-tempo musical score written by the award-winning songwriting team Kristen Anderson-Lopez and Robert Lopez of Frozen fame, keeps the storyline moving. Nigel, the Australian brown pelican, also relays critical information to the ocean denizens and Nemo about Marlin and Dory’s adventures, as well as encourages audience participation at times. “If you think Marlin will save Nemo, clap your fins now,” he intones, to an enthusiastic response.

The team of Scenic Designer Milo Bue, Costume Designer Theresa Ham, and Lighting Designer Brian Elston work together to create the colors and beauty of the underwater world. Large panels of lights on all the walls surround the audience in an everchanging display of seascapes. Lighting is used to create the undulating movement of water, and at time, bursts of bubbles gently fall to the delight of the audience.

But it is the wonderful puppets, thanks to Puppet Designer Jesse Mooney-Bullock, that are the true stars of the show. From the giant Sea Turtle, the laid-back Crush, played by three persons, to the scary barracuda that attacks the reef, to the delightful school of fish that point Marlin and Dory in the right direction, each puppet is uniquely designed and operated.

The talented cast bring the personalities of each character through with masterful puppetry and choreography. Avelyn Lena Choi shines as Nemo, and Devin De Santis portrays “Marlin” with just the right amount of caution and bravery. As in the movie, it is Dory, played expertly by Leah Morrow, who steals the show. Her mantra of “Just keep swimming” and continued mangling of Nemo’s name (Mosquito, Cheeto, Mango, to mention a few) keep the young crowd laughing and amused.

The talented ensemble also includes Andres DeLeon, Genevieve Jane, Charlie Long, Adelina Marinello, Tommy Rivera-Vega, Maya Rowe, Lorenzo Rush Jr., and Meena Sood, who play a variety of roles throughout the show.

As an added bonus, as it does with all its children’s theatre performances, the cast of the show remain afterwards for a brief question-and-answer session with the audience. For older children in the audience, it’s a wonderful opportunity to glimpse behind the scene and see how the stage magic happens.

With the holiday season nearly upon us, Marriott’s Finding Nemo is a perfect choice for family-friendly entertainment appropriate for all ages. I enjoyed the show as much as my nine-year-old granddaughter, who walked away thoroughly satisfied, remarking, “My favorite part was that there was a happy ending.”

Disney’s Finding Nemo Theatre for Young Audiences version is running through Jan. 4, 2026, at the Marriott Theatre, located at 10 Marriott Drive in Lincolnshire. Performances take place on most Wednesdays through Sundays at 10 am with select 12:30 pm performances. Visit www.marriotttheatre.com or call 847.634.0200 for the exact schedule, as show times and dates may vary.

Having followed JJ Niemann’s Broadway career on social media for years, I was especially eager to see him take the lead in Marriott Theatre’s revival of Catch Me If You Can. While social media offers curated glimpses – often in the form of brief, specially selected clips – Niemann proved from the very first moment that his talent extends far beyond a phone screen. As Frank Abagnale Jr (and all of his many alter egos), he delivered remarkable acting, vocals, dance, and charisma, captivating the audience every second of the 2.5-hour show. Put simply, he was flawless, stepping into a role once played by Leonardo DiCaprio on the big screen and making it entirely his own on the Marriott’s stage.

If anyone could have carried the entire production single-handedly, it would have been JJ Niemann – but fortunately, he didn’t have to. Every member of the cast shone on the stage in every aspect, truly making the show a shared success.

Though positioned as Frank’s pursuer and foil, Carl Hanratty (played by Nathaniel Stampley) was endearing in his own gruff way. Amplified by powerhouse vocals and his chemistry with Niemann, Stampley lent real emotional weight to the main character’s cat-and-mouse dynamic. He was supported by a trio of FBI agents (played by Justin Albinder, Alex Goodrich, and Karl Hamilton), each leaning into a distinct, delightfully caricatured 1960s-cop persona that balanced humor with crisp stage presence.

Frank Jr’s parents, Paula and Frank Sr Abagnale (played by Jessie Fisher and Sean Fortunato), were equally memorable, both pairing outstanding vocals with impressive dancing for numerous numbers throughout the production. Fortunato’s descent into drunkenness was one of the best that I’ve ever seen on stage, making it captivatingly painful to watch.

And then there was Brenda Strong (played by Mariah Lyttle), Frank’s love interest and an understated character who is introduced later in the story. In lesser hands, this role may very easily be overshadowed; however, she was unforgettable. With her soaring rendition of “Fly, Fly Away,” Lyttle transformed an incredible, but quiet, presence into one of the evening’s most breathtaking moments.

The ensemble as a whole was excellent, but the women of the cast especially stood out. They cycled through what felt like countless costumes, each one helping chart Frank’s quick pivots from one setting to the next. With every lightning-fast change of outfit and role, they embodied entirely new characters with sharp precision, bringing fresh energy to each scene.

For those unfamiliar with Marriott Theatre, its productions are staged in the round, with the audience on all sides. This format can pose real challenges, from sightline issues to spacing constraints, and often risks making the stage feel cluttered. Layer on top of that a show like Catch Me If You Can, which demands constant shifts in setting, and this could easily be a recipe for disaster. Yet here, the design choices were ingenious.

The main scenic elements were just two benches – retro enough to scream 1960s airport or that could have been pulled from The Jetsons – sitting on a circular track that rotated around the stage. Paired with set pieces that came and went through the aisles, the transitions felt effortless and kept up with the naturally fast pace of the show. When combined with the lighting, costumes, and hair and makeup, everything came together into a strikingly cohesive and thoughtfully designed production. Much credit is due to director Jessica Fisch, whose vision kept all of these moving parts balanced and unified.

It was clear that every detail of this production was carefully planned and executed, and paired with a cast this talented, the result was something truly special. Catch Me If You Can is an absolute must-see, running at Marriott Theatre through October 19th. Tickets are available at https://www.marriotttheatre.com/show/catch-me-if-you-can.

*This review is also featured on https://www.theatreinchicago.com/!  

As a lifelong aficionado of the ill-fated ocean liner RMS Titanic, I’ve always gravitated toward any experience that would leave me feeling immersed in that famous moment of an era that nobody any of us knows anymore is alive to remember. I’ve watched every grainy, dated video interview with actual survivors of the shipwreck I can find on YouTube. I’ve even listened to audio rips of ancient vinyl interviews with others who were there and who lived. One of the several times I saw James Cameron’s Hollywood opus during its initial 1997 theatrical run was seated on the flooded floor of an overbooked movie house during a torrential rainstorm; it was like virtual reality, but way soggier!

I’ve learned all I can about the unfathomable chain of events that left the liner many fathoms below the Atlantic. And I’ve tried just as hard to learn about that long-gone period in which the wealthy crossed seas on boats instead of private jets, and immigrants did the same to an America that once welcomed them. But despite the books and the videos and the museum exhibits, April 15, 1912, seems as long ago as Gettysburg or the pyramids.

That’s why I truly appreciated and enjoyed the Marriott Theatre’s current run of Maury Yeston and Peter Stone’s Tony-winning Titanic: The Musical. Instead of awing me with titanic recreations of the floating behemoth like Cameron’s film or an array of sunken artifacts recovered from the seabed over two miles below, this production directed and choreographed by Connor Gallagher made me think about the things that were really lost on that calm April night. The somethings, actually. The someones. 1,517 someones.

Utilizing the Marriott’s theater-in-the-round setup, Gallagher lets his cast—the people on board the boat—bring this early-20^th-century story well into the 21^st. And what a cast he brings along for the cruise!

But first, we feasted. The Marriott has transformed its Three Embers Restaurant into the White Star Grill. Featuring food that would’ve been served to the passengers of the White Star Line’s crown jewel, the eponymous Titanic, I was already being time-warped back to 1912 before I’d set foot in the theater proper. Braised short rib. Wood fired lamb. Poached king salmon. Chicken lyonnaise. It was all food a gourmand of the time might have expected prepared as they sailed the Atlantic. And they would’ve approved of the Marriott’s take on the fare. What a way to start a night out!

Waldorf Pudding at the White Star Grill

As dinner digested, we met the folks who, in less than two hours, would either be among the 706 survivors of the disaster, or the more than twice as many who’d be listed among the dead.

Of course, there were the famous figures—famous in their time because of their social status and still famous because of their choice of transportation. There were Guggenheims and there were Astors. And just as rich, but as charming in their humility as they were onscreen and seem to have been in reality, were Isidor and Ida Straus, the elderly couple who co-founded Macy’s and who went down, together, with the ship. Mark David Kaplan’s Isidor was lovable, while his wife Ida, who’d loved him for over forty years, was played by Heidi Kettenring, whose vocal performances throughout the show were breathtaking.

Those known for the responsibility of Titanic’s existence and demise were well represented, as well. David Girolmo’s Captain Smith was as stoic and somber as the ancient mariner he already was on what was to be his final voyage after Titanic’s maiden trip. Christopher Kale Jones’ builder of the boat, Thomas Andrews, looked more haunted and heartbroken as the fate of his creation and himself sank in. And Adam Pelty played J. Bruce Ismay, head of the White Star Line, and as close to a villain as the story has, all business and bully and bluster as the boat makes its way toward the tale’s true villain, the iceberg.

Heidi Kettenring and Mark David Kaplan in Titaninc: The Musical at Marriott Theatre

But just as it was with the actual Titanic, the many other people along for the ride made the whole thing human, made it real, made us feel like we were there. If anyone could be called a hero in this story without any, it would be stoker Frederick Barrett, played by Darian Goulding. Goulding’s got the most fleshed-out storyline and maybe the most musical lines, too, and he makes the most of them with a wonderful voice and a way of portraying a guy from the days of coal-powered steam engines.

Another everyday person looking to make it across the pond is with-child Irishwoman Kate McGowan, played by Erica Stephan, who seems to fit into every role and production she’s part of. James Earl Jones II and Lillian Castillo also wow as American couple Edgar and Alice Beane who try to blend in with the other passengers, but who instead steal the spotlight with their own wonderful musical numbers. Another couple in love played by Francesca Mehrotra and Will Lidke were maybe my favorite vocalists of the evening, although Matthew Hommel’s dual roles as boy telegrapher Harold Bride and bandmaster Wallace Hartley reserved for him two of the evening’s best songs.

And, backing all of these varied performances and the ongoing score was as tight a Marriott orchestra as I’ve heard, conducted by Brad Haak.

When you head to Marriott Theatre’s Titanic: The Musical—playing now until June 1—you won’t find priceless trinkets plucked from the ocean floor, nor will you find lifelike walls of riveted steel. But you will find a lovely dinner followed by a truly immersive night to remember as you meet some of the people who lived, and who didn’t, on that calm Atlantic evening over 113 years ago.

*This review is also featured on https://www.theatreinchicago.com/!

In 1997, Disney came out with the most magnificent adaptation of Rodgers and Hammerstein’s Cinderella that has ever been made. With talent like Brandy, Whitney Houston, Bernadette Peters, Jason Alexander, and Paolo Montalban, the rendition of the classic fairytale lives rent free in the minds of most millennials and their parents who endured countless rewatches of the film on The Disney Channel. With the resurgence and fascination of all things 90s, the musical will no doubt be a successful streaming event. The 1997 film managed to do something previous adaptations of the fairytale could not. It captured pure magic. The charm, the wonder, the beauty and enchantment, it was all perfect. Twenty-seven years later, that same charm and enchantment can be found at Marriott Theatre as they perform Rodgers and Hammerstein’s Cinderella.

Rodgers & Hammerstein’s Cinderella celebrates the timeless enchantment of the magical fairy tale. It tells the story of a young woman named Cinderella, mistreated by her cruel stepmother and stepsisters, who dreams of a better life and is granted a magical night at a royal ball by her Fairy Godmother, where she falls in love with the Prince, ultimately escaping her harsh reality and finding happiness through a glass slipper left behind at the ball. The classic story of Cinderella at Marriott Theatre follows her quest to attend the Prince’s Ball with a twist of originality, charm and elegance. With a magical, minimalist 360-degree stage, the musical transports a new generation to a miraculous kingdom of dreams-come-true. With great warmth and more than a touch of hilarity, this enthralling fairy tale still warms the hearts of children and adults alike.

Though Cinderella’s story has been told thousands of times over in every conceivable style, Rodgers & Hammerstein’s Cinderella has something special. The musical was originally written for television with music by Richard Rodgers and a book and lyrics by Oscar Hammerstein II. It aired in 1957 with the incomparable Julie Andrews playing the title role. The broadcast was viewed by more than 100 million people, the 1997 adaptation boasted an impressive 60 million. While Marriott Theatre cannot accommodate those numbers, the show continues to entertain sold out crowds. Princes and princesses of all ages gather at the Lincolnshire homestead to hear familiar numbers such as Impossible/It’s Possible, Ten Minutes Ago, and A Lovely Night. Jaeda Lavonne absolutely dazzles as Cinderella, accompanied by a remarkably talented cast to include Marriott darlings Lillian Castillo as the Fairy Godmother and Lorezno Rush Jr. as the King.

Marriott Theatre rounds out their season with this enchanting production, reviving the magic and charm of the musical just in time for the holiday season. Be sure to take your princes and princesses to see it before the stroke of midnight and the end of 2024. Rodgers & Hammerstein’s Cinderella is now playing at The Marriott Theatre (10 Marriott Dr, Lincolnshire) through December 29, 2024, a finer night you know you’ll never see. Tickets are available at www.marriotttheatre.com. 

I've always had a deep fondness for the two timeless films Holiday Inn and White Christmas. These movies feature outstanding soundtracks composed by the legendary Jewish American immigrant Irving Berlin. With a repertoire of 1,500 remarkable songs, including the iconic 'God Bless America', Berlin also sparked a Christmas revolution with his deeply emotional and sentimental classic, 'White Christmas'. Few are aware that Irving Berlin experienced a personal tragedy when he lost one of his children to sudden death on Christmas Day in 1928. Despite this, Berlin, an immigrant, always conveyed his profound love for America through his music. Like in 'God Bless America,' he consistently expressed his deep belief in the nation's potential for goodness, unity, and global leadership. Marriott Theatre's White Christmas is a heartfelt tribute to Irving Berlin and offers a wonderful opportunity for audiences to embrace the Christmas spirit.

White Christmas revolves around two talented entertainers, Bob Wallace (Ben Mayne) and Phil Davis (Tyler Johnson-Campion), who form a successful song-and-dance duo after World War II. They encounter singing sisters, Betty and Judy Haynes (Jacquelyne Jones and Kelly Felthous), and follow them to a Vermont lodge owned by their former army commander, General Waverly (Rom Barkhordar).

With the lodge facing financial difficulties due to a lack of snow, the group decides to stage a spectacular show to attract guests and save the establishment. Along the journey, romance blossoms between Bob and Betty, as well as Phil and Judy. The film is filled with memorable musical numbers, including the iconic "White Christmas," and concludes with a heartwarming and festive celebration.

Linda Fortunato directs and choreographs this dynamic in-the-round production, seamlessly transitioning from one spectacular showstopper to the next throughout the evening. The show is further elevated by its four exceptionally talented leads, who bring delightful moments of romance, dancing and humor to the stage.

Ben Mayne initially portrays a slightly stoic Bob Wallace, the character originated by Bing Crosby in the 1954 film. However, as the performance progresses, Mayne’s sensitive acting beautifully reveals Wallace’s transformation from a man guarded and wary of love to one who is deeply and undeniably in love. Meanwhile, Tyler Johnson-Campion dazzles as Phil Davis, a role originally brought to life by Danny Kaye. His immense talent as a singer and dancer repeatedly brings the audience to their feet, with tap-dancing performances that seem to defy gravity and overflow with the exuberance of newfound love. 

Jacquelyne Jones, playing Betty Haynes—a role famously portrayed by Rosemary Clooney—delivers a poignant and heartfelt performance in 'Love, You Didn’t Do Right By Me,' capturing the depth of female grief with striking authenticity. Together, Mayne and Jones enchant the audience as their characters fall in love, beautifully showcased in their renditions of Berlin's exquisite love song, 'How Deep is the Ocean.' While Jones treats the audience with a wonderful performance, Kelly Felthous shines as Judy Haynes, a role played by Vera-Ellen in the film version, bringing an infectious joyous energy and singing with great glee and charm. Felthous and Tyler Johnson-Campion, both exceptional dancers, leave the audience in awe with their expert hoofing in the hugely romantic and fun number 'The Best Things Happen While You’re Dancing.'

Jacquelyne Jone and Ben Mayne in Marriott Theatre's 'White Christmas.'

Rom Barkhordar shines as General Henry Waverly, Wallace and Davis’s retired commander, bringing a blend of humor and warmth despite his gruff exterior. Meanwhile, Robin R. McGee delivers a truly breathtaking performance as Martha Watson, Waverly’s dedicated helper and hotel manager, with her rendition of 'Let Me Sing and I’m Happy.' McGee possesses an indescribable vocal range, delivering her performances with the power and grace of a seasoned star who dazzles brighter than ever. 

White Christmas is a delightful musical, brimming with wit and fun, featuring memorable song and dance numbers that truly leave a lasting impression. Among the numerous standout moments, the entire cast's rendition of “Blue Skies,” set against the breathtaking backdrop of real snow falling in Vermont, is a spectacular and uplifting highlight that will stay with me throughout the winter season.

I wholeheartedly recommend this timeless yet refreshingly vibrant production, brimming with Irving Berlin's endlessly inspiring and romantic music. It's perfect for audiences of all ages who wish to take a joyous journey into the past and fully savor the upcoming Holiday Season.

"Snow, snow, snow, snow, snow!"

White Christmas is being performed at Marriott Theatre through December 29th. For tickets and/or more show information, click HERE.

There was only one star of the Cubs-Diamondback series this past weekend in Chicago and it wasn’t a player. It was a pigeon who spent a sleepy seven innings strutting along the third base line to the delight of cameramen and Cubs fans. Who can blame the cameraman panning in on the funny looking bird when our beloved Cubbies couldn’t manage to get a player on base let alone to third? At one point fans were telling the team to put let the Pigeon play. But my son cautioned us all: Don’t let the pigeon play baseball. This sentiment was agreed upon by all the children in our section of the stands. The reason was that pigeons think they are old enough, mature enough, talented enough, when in reality they can’t play baseball any more than they could drive a bus and the children had the Mo Willems receipts to prove it. But in a world of Don’ts, particularly involving our fine feathered friends, there is one thing we all should do, and that is seeing the soon to be crowd favorite of Don’t Let the Pigeon Drive the Bus! The Musical!

Hop on board for an unforgettable ride with the Pigeon in Don’t Let the Pigeon Drive the Bus! The Musical! In this feather-filled extravaganza based on Mo Willems’ bestselling books, the Pigeon is back and he’s ready to take the stage. When the Bus Driver has a crisis that threatens to make her passengers late, the wily bird sees his chance to take the wheel. With an innovative mix of actors, puppets, and feathers, this production brings the beloved characters to life like never before. Featuring a hilarious script co-written by Willems and Mr. Warburton and catchy songs by Deborah Wicks La Puma, this show is perfect for the whole family. Suitable for children ages 4 and up, Don’t Let the Pigeon Drive the Bus! The Musical! is an interactive and joyous experience.

Similar to Willem’s musical adaptation Elephant & Piggie’s “We Are in a Play!” that premiered at Marriott Theatre in Chicago, Don’t Let the Pigeon Drive the Bus! The Musical! brings the beloved children’s story about the Pigeon to life, focusing nearly entirely on Drive the Bus, but references Willem’s other Pigeon books such as Stay up Late, Duckling gets a Cookie, Pigeon Wants a Puppy and Pigeon Finds A Hot Dog. Unlike its predecessor, Drive the Bus relied too heavily on the one book for source material. The Pigeon was almost a secondary character behind the bus driver, and duckling hardly made an appearance the whole show. The play lacked a well crafted storyline that could have tied all the beloved books together, relying on overexaggerated bits and gags that had kids rolling in the aisles and some clever quips that adults ostrich chuckled at. What the musical story might lack, Marriott Theatre makes up for in its local talent. Actors and actresses belted out catchy tunes and demonstrated their breathtakingly impressive ranges. The actors make the musical accessible and easy to follow for children of all ages, using the full 360-degree stage to ensure every section of the theatre feels included in the show and can see the Pigeon. While the story might not be as strong or entertaining as the Piggie and Elephant musical, the magic and charm of Mo Willems still shines through and it is well worth the trip to Lincolnshire to delight your kids of all ages.

The Cubs might lose some, but there is plenty of season left. The same cannot be said for this limited run of Don’t Let the Pigeon Drive the Bus! The Musical!, now playing only through August 11^th at the Marriott Theatre in Lincolnshire. Maybe the Pigeon shouldn’t drive the bus, but maybe, just maybe, the Cubs shouldn’t discount the Pigeon to be a reserve player for the latter half of the season. Tickets for Don’t Let the Pigeon Drive the Bus! The Musical! are available at www.marriotttheatre.com.

You got trouble, my friends, if you’re going to put on Meredith Willson’s The Music Man.

If you’re going to stage a show that’s been staged ten thousand times since its 1957 Broadway debut—from Hugh Jackman on the stage to Matthew Broderick on the screen to every doggone high school from Clear Lake to Mason City.

A show lovingly recreating an era (Willson was born in turn-of-the-century Iowa) and themes (Willson’s virtuosity on the piccolo found him playing in John Phillip Sousa’s band and Toscanini’s New York Philharmonic) that aren’t quite old enough to be ancient but aren’t familiar enough not to seem dated.

To try and recreate those songs.

“Trouble”

“Till There Was You”

“Seventy-Six Trombones”

To try and attempt to touch the hem of the salesman’s trousers worn by Robert Preston’s Professor Harold Hill—Preston not only originated Hill and played him for much of the original production’s 1,375-show run and the beloved 1962 Hollywood adaptation, he is Professor Harold Hill. Nobody—not any one of those ten thousand (or more) high school or professional actors, not even Hugh Jackman—can be the band instrument-peddling flim-flam man like Preston was and is and always will be.

My friends, if you’re going to attempt all of that… well, you’ve got trouble.

Unless you’re Katie Spelman, who is directing and choreographing Marriott Theatre’s current production of Meredith Willson’s The Music Man. Spelman’s production lovingly embraces and focuses on some aspects of Willson’s original, while avoiding the pitfalls such an iconic show presents. But what this production does best is it knows its strengths, and it leans into them, giving Spelman’s show its own unique flair.

We see the sort of Harold Hill we’re going to spend the evening with right away aboard the train from Rock Island. In most productions I’ve seen, me and the rest of the audience know the first scene’s big reveal, and our eyes remain glued to a particular passenger despite the cast’s best efforts at the syncopated opening number, “Rock Island.” But even though we spot KJ Hippensteel at the back of the train car, we don’t focus on him. Instead, we focus on the enthusiastic ensemble that everyone—Marriott’s in-the-round setup means it’s always the best seat in the house—sees up close and personal and from all angles. Ron E. Rains, all dolled up like a turn-of-the-country fellow, leads the charge, while his fellow passengers run through Spelman’s clockwork choreography. Right away, I was glad to see a familiar face, Michael Mahler, who brought the same charm to each role in this play as he has in many past.

After Hippensteel’s Professor Harold Hill disembarks from the train to River City, Iowa, this closeness and intimacy we felt aboard the train transfers right into town. This production doesn’t try to recreate River City on a Hollywood scale. But it really focuses on certain things and gives us a good, close look at them, which we might not have gotten on the Broadway stage or the silver screen.

The citizens of River City are each and every one unique. And, as they move around the round, allowing us to see each and every one of them, we appreciate the details of each of their costumes (by Raquel Adorno), we appreciate that each one is someone. Particularly charming are youngsters Emily Ann Brooks and Sam Linda, Janet Ulrich Brooks’ Widow Paroo, Elin Joy Seiler’s Amaryllis, Alex Goodrich’s Mayor Shinn, Melanie Loren’s hilarious Eulalie Mackecknie Shinn, and the spot-on barbershop harmonies of the school board quartet (Matt Edmonds, Quinn Rigg, Michael Potsic, and the afore-mentioned Mahler).

Besides the ensemble’s vocal strengths, the singer who really shines is Alexandra Silber as Marian Paroo, the town librarian. No shrinking violet, no old-maid-against-her-will, and not even Mrs. Partridge (although I do love Shirley Jones’ Marian the Librarian), Silber brings her Grammy-nominated vocals to the fore. This production’s brought Julie Andrews-caliber pipes to the party—Silber’s soprano as she sang of “My White Knight” gave me chills.

But while all of these strengths—the ensemble’s skill, the cast’s charm, the performers’ pipes, the theater’s—are recognized and utilized and add up to a unique and charming take on an old favorite, I’ve not yet addressed KJ Hippensteel as Professor Harold Hill. And that’s because, like the production itself, Hippensteel’s Hill reads the room and knows what the room needs, or he knows how to sell the room what the room thinks it needs.

Hippensteel’s Hill doesn’t try to go toe-to-toe with Preston’s over-the-top traveling salesman—he’d have failed like every other Hill since Preston caught his last train ride. But Hippensteel’s Hill knows his own strengths.

He’s city pretty and, while out of place in a place like River City, he’s a curiosity. He’s slippery, slinking around with an easy physicality that sometimes seems to be at twice the speed of the Iowans moving around him. And Hippensteel’s Hill seems like he might just be a nice enough fellow—while Preston’s Hill, played by an actor who up until then had usually played screen villains, is a bad guy you hope could see the light, Hippensteel’s Hill is a good guy who you hope can right the ship after some bad life choices.

But, because this is The Music Man, a show we music theater folks know and love, Hippensteel’s Hill does give us the flourishes, the hand gestures, the hops, the dips, all the pizazz we came into the theater expecting from the professor. However, Hippensteel does it on his own terms, as his own Harold Hill. Just like the entire charming and unique production of Meredith Willson’s The Music Man does, playing now through June 2 at the Marriott Theatre in Lincolnshire.