Displaying items by tag: Paramount Theatre

Just on the heels of a very successful run of The Sound of Music, the three-hour production of Stephen Sondheim's Tony Award winning Into the Woods at the lushly appointed art deco Paramount Theatre is here to delight another round of theatregoers. Simply stunning and jam-packed with talent and energy, Paramount gives us another production to rave about. Upon entering the theater, the enormous set by designer Jeffrey D. Kmiec, with romantic and powerful lighting by Jose Santiago, is a spectacle to behold with its beautiful stately trees and fairy tale castle towers which dazzles the eye and ignites the audience's senses.

Into the Woods is a slightly adult version of a mashup of Brothers Grimm fairy tales that is really a metaphor for venturing out into the world and in everyday life on new paths to find happiness and love. Mixed together in this epic and humorous adventure are characters and plot lines from Cinderella, Jack and the Beanstalk, Little Red Riding Hood and Rapunzel.   

Although this is clearly an ensemble piece with a large and exciting cast, the play is held together and given a continuous depth of meaning by its Narrator, played by outstanding character actor Larry Yando (he also doubles as Mysterious Man). I went to college with Yando at the Goodman/DePaul School of Drama back in 1987 and now all Chicago audiences know and love his work as Ebenezer Scrooge in Goodman Theatre’s long-running Christmas favorite, A Christmas Carol.

The production contains numerous catchy Sondheim musical numbers including its title track that opens the show along with "Our Little World", "Ever After", "No One Is Alone" and the very funny “Agony” wonderfully performed by Cinderella's Prince (Alex Syiek) and Rapunzel's Prince (Devin DeSantis) – in perhaps the one of the shows funniest scenes. Another standout for me includes outstanding vocal performances from Cinderella, played with great humor by Hannah Louise Fernandes who questions why she is "running from a Prince?” after her fairy Godmother used magic to help her attend the ball. Also, Little Red Riding Hood, played by the sardonic and ruby-lipped Lucy Panush, is adorable throughout. Panush is forever changed by her encounter with the lusty Wolf who sniffs her as if she is a tasty pastry and she recalls with misty wonder how being "swallowed by the wolf" let her fall into a deep dark place that she surprisingly found quite fascinating. 

Paramount Theatre’s Into the Woods features (from left) Stephen Schellhardt as the Baker, Will Koski as Jack, Natalie Weiss as the Witch, Hannah Louise Fernandes as Cinderella and Lucy Panush as Little Red Ridinghood. Photo by Liz Lauren.

The show is bursting with talented performances throughout and peppered with brilliant comedic and singing performances including that of Sarah Bockel as the Baker’s Wife, Will Koski as Jack and Natalie Weiss as The Witch. Its story is fun and has a twist around every corner while the extraordinary set and lighting/sound effects keep us smack dab in the middle of an enchanted world like no other.

The music throughout is impressive and big. I always love to walk down at the end of a show to see the orchestra in the pit, and this large gifted group of musicians led by Music Director/Conductor Kory Danielson are a character in their own right. And the music that comes from an orchestra of this size is something you can feel pulsing in your heart as the play takes the audience through all "the feels" from joy to loss, sensual longing to satisfaction and everything in between. 

Into the Woods has so many great characters and intertwining storylines, each with their own moral lesson, that there is something everyone can relate to at every age, whether it is the joys and disappointments that come with leaving home, reckoning with your parents’ goodness or mourning the loss of a loved one.

I highly recommend this outstanding and exciting, colorful and dramatic production for audiences between the ages of 12 to 91 (the age Sondheim passed away in 2021) who are seeking a rich, quality and satisfying night out at the theater. 

Into the Woods runs through March 19th at the Paramount Theatre, 23 E. Galena Ave., in Aurora. For tickets visit paramountaurora.com or call 630-896-6666.

From the moment the sisters along with Mother Abbess sang “Maria” in one of the show’s earliest numbers, I knew I was in for a special performance. Their voices soared through the theater with a magnificence beyond what I had hoped. And when Mother Abbess (so richly performed by Susan Moniz) sang the final line in the song, “How do you hold a moonbeam in your hand”, it nearly brought tears to my eyes – just the beauty in her voice and the compassion within her words.

Paramount Theatre is currently taking on one of the most timeless musicals ever created in stage history in Rogers and Hammerstein’s “The Sound of Music”. And though many excellent renderings of this musical have come through Chicago over the past several decades, I can only imagine that this production would join the others among the best produced, casted and performed. From its majestic sets that seamlessly change from scene to scene to its large catalog of masterpiece musical theater numbers, this production wows the audience one scene after another.

The Sound of Music is based on the 1949 memoir penned by Maria von Trapp The Story of the Trapp Family Singers. The story was first staged on November 16^th, 1959 at the Lunt-Fontanne Theatre before being released as a film in March of 1965 where it won just about every award imaginable, taking off internationally thanks in part to memorable performances by Julie Andrew and the late, great Christopher Plummer. Taking place in 1938 Salzburg, Austria, its story revolves around Maria, a wannabe nun that might not be quite ready for life in The Abbey. Wanting her explore life again on the outside before committing to sisterhood, the Mother Abbess sends free-spirited Maria to serve as a governess for the widowed Captain Georg von Trapp, a retired naval officer, where she would care for his seven children. Georg is strict and has distanced himself from his children since his wife’s passing. His children now answer to whistles and march as though they were in the military. Maria becomes intent on not only breaking through to the children (who are now on their seventh governess) but also connecting them once again with their father whom they once knew much more closely. While doing so, unexpected feelings emerge between Maria and Georg. At the same time, Nazi Germany is spreading throughout Europe, Austria being no exception. The beloved country was being annexed by Hitler’s dark empire. But Georg is a devout Austrian and refuses to serve under the Third Reich. So, then the story also becomes one of escape.

For a Sound of Music production to work well, Maria must be cast well. And in Paramount’s production, they have done just that. Alicia Kaori is extraordinary. She gives us a Maria who is playful, warm, understanding, loyal, devoted, brave and adventurous. She brims with confidence when needed yet occasionally wrestles with her doubts. Kaori’s vocals are also impressive - her range is remarkable.

The remainder of the cast is superb.  As mentioned prior, Susan Moziz excels as Mother Abbess though excellence is also found in Christopher Kale Jones’ portrayal of Captain Georg von Trapp. He does a great vocally but also in capturing the captain’s exacting behavior while showing his vulnerability and his need for love again. With a cast so large, the standouts are plentiful. Included in that group would be Julia Aragon as the eldest von Trapp sibling, Liesl – one of the show’s highlights being her and Rolf’s (Michael Harp) rendition of “Sixteen Going on Seventeen”. Stephen Schellhardt as Max Detweiler and Nellie Shuford as Baroness Elberfeld are both quality additions and take on their roles with much aplomb. The children are fun to watch as their talent should not be overlooked, as well as the production’s ensemble roles.

Every aspect seems to have been taken in consideration while creating this production. The sets, massive and detailed, take us inside the von Trapp home so much that we, the audience, almost feel we are invited guests during the party scene and concert goers during the Sazburg Music Festival. The costumes are rich and painstakingly precise, giving the production an element of authenticity at every turn.

If you are already familiar with the story and are looking forward to hearing to hearing such classics as “Do-Re-Mi”, “Edelweiss”, “So Long Farewell”, “Climb Ev’ry Mountain” or its exhilarating title track, “The Sound of Music”, you will not be disappointed. If you’ve never seen the film or staged production before, you will undoubtedly become a fan.

Adeptly directed and choreographed by Amber Mak, this incredible production of The Sound of Music is being performed at the Paramount Theatre through January 14^th. For tickets and/or more show information click here.

Highly Recommended!

As a reviewer I've attended many productions of Rock of Ages and Paramount Theatre’s current production with its talented cast, wide-ranging set and rockin’ hair band rates right up there with some of the best I've seen.

For me, it was especially exciting to return to the gorgeous and comfortable Paramount Theatre after the long pandemic-based hiatus. And just like with most productions at this classic theatre, I was not disappointed.

Rock of Ages, also made into a movie starring Tom Cruise, Russell Brand and Alec Baldwin (to name a few) is a tongue-in-cheek love story about two Hollywood hopefuls, Drew (Kieran McCabe) and Sherrie (Taylor DiTola), one a rock singer and one an actress, who hope to make it to the big time in the 1980's. Multiple story lines also surround its main love story as The Bourbon, a long-time staple in the rock scene, is in danger of being shut down to make way for a modern chain store. The Bourbon is a gritty rock club (and really looks the part) that is run by Dennis (Karl Hamilton) the stereotypical club owner who only lives to rock another day, along with his animated sidekick Lonnie (Shea Coffman), who also narrates the story – and is hilarious doing so. The blend of humor and music is weaved together flawlessly. 80’s rock hits are showcased throughout by the show’s talented cast takes us from one scene to the other. From Twisted Sister’s “We’re Not Gonna Take it” to Nightranger’s “Sister Christian” to Journey’s “Don’t Stop Believin’” to Warrant’s “Heaven” the timeless classics seem endless. Each number is uniquely arranged and tremendously choreographed on the show’s super colorful and brightly lit set.

Taylor Ditola as Sherrie has a great voice and displays a fine sense of humor in her role and Kieran McaCabe, as the lead rock singer Drew, really stands out with his remarkable vocal range and delightful stage presence. Both really look the part and have a nice chemistry together. Though excellent performances in this production were many, I’d like to specifically point out the absolutely outstanding dancing of Christopher John Kelly, who is also the understudy for Franz. I simply could not take my eyes off his amazing dancing whether he was soloing or in the ensemble.  

The entire cast does a great job and occasionally a character bursts out with a voice that startles with its power and intensity as Melody Betts, for one, succeeds to do as Justice/ Mother.

Even if you've seen Rock of Ages before you will absolutely be blown away by the huge amount of ability and energy in every member of this seasoned cast and the spectacular presentation created by director/co-choreographer, Amber Mak, co-choreographer, Annie Jo Fischer and the entire production team. In the opening night performance, the audience was filled with people of all ages, and many hard-core fans of the show gleefully held up the flameless lighters and sang along with their favorite hits, screaming with laughter, as this is first and foremost a musical comedy. 

I highly recommend this production to everyone who has been eagerly waiting to return to seeing live theater as this tragic pandemic wore on. Rock of Ages at Paramount Theatre has all the raucous humor, big stage numbers, eye catching costumes and joyous energy that only live theater done right can provide. This Jeff Recommended production runs through May 29^th. For tickets and/or more information visit https://paramountaurora.com/events/rock-of-ages/.

On a final note, as one who appreciates having dinner before a show, I was very thankful to be invited to discover the offerings at Stolp Island Social Kitchen and Steakhouse. The experience was as impressive as it was convenient and cozy thanks to its tasty seasonal cuisine, super friendly service, and proximity to the theater - right next door to the Paramount. It was such a pleasure to be able to park once, and then enjoy a perfectly timed and delicious pre-show dinner in this lively atmosphere with lots of comfortable booth seating. Just like the Poison song says, “It don’t get better than this.” 

The 1993 Bill Murray movie comedy, Groundhog Day,is one of those cult classics with millions of fans. Like ‘The Big Lebowski,' people love it, or don’t quite see the appeal. I fall in the latter class on both films: appreciating the concept, but not with a lot of fervor.

So I was hopeful that the 2017 Broadway musical version would help me get into the story. Indeed, ‘GroundHog Day: The Musical,’ is a tremendous musical production. The story tells of cynical, self-centered TV weatherman Phil Connors who balks at being relentlessly assigned to cover the furry forecaster at the annual Groundhog Day in Punxsutawney, PA. You know, if the groundhog sees his shadow, winter lingers; if not, we get an early spring.

Alex Syiek is exceptionally good as the arrogant weatherman Phil Connors, channeling the flavor of Bill Murray’s version but making it his own. And Phoebe González as Rita Hanson, Phil’s new producer and love interest, is terrific.

The full production team has done a wonderful job, with very creative staging: Jim Corti, director; Megan E. Farley, choreographer; Kory Danielson, music supervisor, music director and conductor; Courtney O’Neill, scenic designer; Jordan Ross, costume designer; Greg Hofmann, lighting designer; Adam Rosenthal, sound designer.

In its Midwest premier at the beautifully restored Paramount Theatre in Aurora, IL through March 13, 'Groundhog Day: The Musical' a remount of the Broadway version that garnered seven Tony nominations. One suspects there is a reason it didn't win any. Frankly, the underlying material is pretty bad, in particular, the music. That would be the underlying material.

As in the film, Connors gets stuck in a time loop, awakened by his alarm each day at 6:00 a.m. to cover Groundhog Day. The musical version explores Connor’s desperation to escape the loop, and how he uses his time - for instance, hitting on every woman in town, and taking piano lessons - always “for the first time.”

But the repetitive nature of the morning 6:00 a.m. alarm seems to be incorporated into the music, yielding what basically sounds like endless variations on a single song for an overly long first act. The soporific effect was counteracted in a shorter second act with two distinct songs, one even memorable. And a Two Brothers coffee available at intermission helped.

It would have been hard to predict when this show was originally planned that Omicron Covid would still bedevil us. And in a sense, we are consigned to our own relentless treadmill of masks and constraints. Perhaps 'Groundhog Day The Musical' was chosen only for its coincidence with the real annual Groundhog Day each February. Infusing our masked treadmill wouood have given it more relevancy.

But I wouldn't write off seeing this show, which is a beautiful production, pretty much perfectly executed. But get yourself a Two Brothers in the lobby when you arrive.

‘Cinderella’ is a sumptuous visual feast, and a musical delight. Running through January 9, 2022 at Aurora’s beautifully restored Paramount theater, this timeless classic tale has been given a Broadway caliber treatment under the direction of Brenda Didier.

With gorgeous costumes (Theresa Ham) and wonderful original choreography (Tiffany Krause), the show is accompanied by the finely-tuned 14-piece live Paramount Orchestra, delivering magnificent sound under the baton of Kory Danielson.

Most striking is the performance by Mikayla Renfro as Cinderella. Renfro is a truly outstanding vocalist whose opening duet with Prince Christopher (Markcus Blair), “The Sweetest Sounds,” begins unassumingly, then clobbers you with its powerful harmony and inventive counterpoint tempo. No wonder: it was crafted by the masters of American musical theater, Rodgers & Hammerstein, who created the original musical in 1957 for CBS television.

Renfro has star power, with beautiful, expressive delivery across her whole vocal range. I could listen to her forever. Blair is a great tenor, though he didn’t seem to have the volume at the higher ends. In the second act, though, Blair comes on stronger, demonstrating vocal strength across his range.

Rodgers & Hammerstein's version of the tale of the downtrodden orphan—dressed by her fairy godmother, she came late to the ball, enthralled a prince, and left a glass slipper as her calling card—was derived from Cendrillon by French author Charles Perrault. It was the first time a musical was written expressly for relevision, and featured a young new star, Julie Andrews.

While timeless, that 1957 ‘Cinderella’ would look stale today, so this Paramount production follows a hipper, updated movie script produced in 1997 (with Brandy as Cinderella and Whitney Houston as the Fairy Godmother). It's fesher and funnier. 

Standout performances include the statuesque Jerica Exum as the Fairy Godmother, who exudes powerful magnetism whenever on stage; Sarah Bockel as the cruel Stepmother, bringing a Bette Midler-esque flair; and Lorenzo Rush, Jr. is excellent as the world-weary royal adjutant, Lionel, who manages the slipper fitting tests on all the women in the village.

You might ask how the magical transformation of a pumpkin into a coach and mice into horses is handled. In this production of ‘Cinderella’ a mix of puppetry and stagecraft does the trick. Puppets play the roles of mice, cat and birds who comfort Cinderella in her misery, and provide entertaining accents at the Paramount production. When at the critical moment Cinderlella gets her gown, and an elegant coach and liverymen appear, you will be delighted. It earned well deserved applause the night I saw the show. 

The Paramount Theater is a beautifully updated entertainment palace from the 1920s, with new seating and state-of-the-art sound system and electronics. Music from the orchestra, sequestered under the stage, is captured, mixed and balanced, then delivered by a finely tuned amplifcation system giving a sound that is superior than a purely acoustical orchestra could offer in this setting. The 'Cinderella' sound and music team includes Sound Designer-Adam Rosenthal, Orchestral Reductions-Macy Schmidt, Audio, Lighting, Media Supervisor-Alex Buholzer, and Electronic Music Designer-Ethan Deppe.

We hope to return to the Paramount for its upcoming big production shows, 'Groundhog Day' and 'Rock of Ages,' as well as the smaller production series that opens in Mach 2022 with four productions, including 'Hand to God' and 'Fun Home' at the Copley Theater across the street. Both theaters are part of a revitalized riverfront entertainment and dining district in Aurora, the second largest city in Illinois. Learn more at https://www.ParamountAurora.com, or call  (630) 896-6666. 

Disney’s 1991 Award-winning musical Beauty and the Beast was an instant hit. Its songs were memorable, and its story considered one of Disney’s best. With music by Alan Menken and lyrics by Tim Rice and Howard Ashman, a live musical took the Broadway stage in 1994 that successfully ran for thirteen years (Broadway’s tenth longest run) and has since been stage in theatres all around the world. Fairy tale lovers in the Chicago area now get their chance to see this highly acclaimed fantasy-musical once again, this time at Aurora’s Paramount Theatre, in what is truly a visually stunning, heart-warming and vocally charged adaptation of the modern classic. 

A spell is cast on a handsome prince that turns him into an unsightly beast after his horrible behavior and selfish ways have gone too far. He now lives in a dark mansion deep in the woods along with a once human staff that are slowly turning into household items - a candlestick, a clock, a dresser and a teapot. The more time that passes the closer each is to losing their human likeness altogether - forever. Only one thing can save them – should the beast fall in love before the last pedal of a magic rose falls, the spell would be reversed, and all would be come human again. But…the love must be returned to him. For a hot-tempered beast that lives hidden in the middle of a vast forest, this is much easier said than done.

 
Belle (Beth Stafford Laird) is a beautiful village girl who is courted by town hero Gaston (Emmett O’Hanlon) but she repeatedly fends off the egotistical hunter’s aggressive advances. But Gaston doesn’t give up so easily and he, along with his comical sidekick Lefou (Nick Druzbanski) are always scheming their next move. Belle’s kind-hearted father Maurice (Ron E. Rains) is an inventor whose keen ideas are often looked at as kooky by the fellow villagers. He loves his daughter more than anything but stumbles into trouble when he gets lost in the woods and Belle goes on the daunting task of searching for him on her own. After a series of happenings have the two crossing paths deep within the trees, Belle then Beast’s last chance for love before time runs out.

Paul-Jordan Jansen, who recently left a strong impression on theatre goers for his strong performance in Drury Lane’s ‘And Then There Were None’ is magnificent as Beast. His deep, strong speaking voice and precise annunciation of every syllable lends to his regal background, so we never forget who he was despite his beastly appearance. Jansen effectively delivers rage as well as he does tenderheartedness, making Beast a well-rounded counterpart to Belle. And Beth Stafford Laird is well cast as the musical’s leading lady, charming, warm and adventurous when need be, she so effortlessly captures the essence of our fairy tale Belle. Both Jansen and Laird complete the package also showing off their powerhouse vocals in many numbers throughout the show.

 
Though our leading characters are nearly flawless and are simply a pleasure to watch from scene to scene, the musical gets a lift from a very solid supporting cast. Emmett O’Hanlon’s rich baritone gives us a showstopping moment or two while he is also able to pull of the needed over the top cockiness that makes his role so humorous (Trevor Vanderzee will be playing the role of Gaston January 8th through 19th). Druzbanski as Lefou is just plain funny nearly every time he takes the stage while other notable performances would have to include Jackson Evans as Lumiere (the candlestick) whose comedic timing is just superb, Ron E. Rains as Maurice, the highly-imaginative inventor, and Becca McCoy who delivers big as Madame de la Grande Bouche, the former singing star who is slowly becoming a dresser thanks to the spell cast upon them. So many great performances grace the stage in this all-out production that includes an impressive ever-changing set, astonishing costumes and several memorable numbers including the instant classic “Be Our Guest”.

Directed and co-choreographed by Amber Mak, ‘Disney’s Beauty and the Beast’ is a colorful, exciting and thoroughly engaging adventure filled with fun surprises and outstanding vocal performances.

Recommended for theatre goers of all ages.

‘Disney’s Beauty and the Beast’ is being performed at Paramount Theatre in Aurora through January 19th. For more information visit www.paramountaurora.com.  

Of the many Andrew Lloyd Webber hits, Jesus Christ Superstar has always been a personal favorite of mine. It rocks, it moves and…it’s back. After a lengthy absence, the award-winning musical has returned to the Chicago area, this time with a bit of a twist as, unlike past productions, the show features an all African American cast. This, opposed to the nearly all white cast complete with a black Judas that we are accustomed to seeing. And, the tremendously gifted cast works so very well in this revival piece. The change is bold and should be commended. And the execution is nearly flawless. 

With one of the greatest rock operas of all time currently finding its temporary home at Aurora’s Paramount Theatre, we know by the end of the production’s first number, “Heaven on Their Minds”, that Mykal Kilgore, who takes on the demanding role of “Judas”, is a special talent. We also get an idea within the next few numbers (“What’s the Buzz?”, “Strange Thing, Mystifying” and “Everything’s Alright”) how deep the talent pool goes in this one-of-a-kind production.  

Reliving the last days of Jesus Christ leading up to the crucifixion, the timeless musical, which premiered on Broadway on October 12th, 1971, is set to the music of Andrew Lloyd Webber with lyrics by Tim Rice, in what began as a rock opera concept album by the two in 1970. Since, it has been one of the most successful musicals of all time gathering a loyal fan-base from all over the world. In Jesus Christ Superstar, we visit Jesus, accompanied by his disciples and Mary Magdalene, as he performs miracles and brings hope to the world while claiming he is the son of God, much to the chagrin of the Pharisees and scribes who see him as a threat to their teachings – a threat they would like removed so much they ask the Romans for help.

In Paramount’s current production of Jesus Christ Superstar, a fifteen-piece orchestra paves the way for the talented performers who leave their mark in one number after another. Kilgore goes on to navigate through each song with skilled precision and sings with amazing depth. And while Kilgore impresses more and more as the show progresses by staying true (and then some) to the “Judas” that both Murray Head and Carl Anderson made famous, Felicia Boswell is also quick to excite the audience with her moving interpretation of Mary Magdalene, particularly in the popular “I Don’t Know How to Love Him”. Beautiful, graceful and vocally dynamic, Boswell brings a gentle warmth to the role, wonderfully capturing the love that Mary had for Jesus. Throughout the production, remarkable performances are abundant with Rufus Bonds Jr. taking the reins in a very commanding depiction of Pontius Pilate, so well delivering the message of his conflict to have Jesus crucified at the request of the mob that is influenced by the religious law makers or to set him free since no Roman law has been broken. Lorenzo Rush Jr. also leaves a strong presence as the baritone-wielding Caiaphas who leads the charge against Jesus, fearing that he will revolutionize Jewish law. 

Jesus of Nazareth is commendably played Evan Tyrone Martin. Martin aptly captures the virtue and charisma needed for the role of and is convincing while conveying just how tiring it can be to be the son of God. Martin’s voice is strong and he has little trouble carrying the many challenging melodies that come with playing Jesus, though the patented screams that both Ted Neeley (film version) and Ian Gillan (concept album) had incorporated into the role were absent, leaving a couple prime crescendo moments to the wayside. Still, Martin holds his own, even getting a much-deserved extended applause after his riveting performance of “Gethsemane”, a powerful number where Jesus questions why it is that he must die. 

The show’s ensemble is nothing short of amazing, the actors changing back and forth from disciples, to Pharisees to lepers to soldiers ever so efficiently. At one point, Mark J.P. Hood breaks rank from the ensemble as Simon and superbly performs one of the show’s highlight numbers “Simon Zealotes”, where he praises Jesus and urges him to build an army to fight the powers of Rome. Another crowd-pleasing moment (among the countless others) occurs when Jesus is brought forth to Herod (Avionce Hoyles) in a glittery display that dazzles in the somewhat jazzy “Herod’s Song”. Kudos to Hoyles who thrusts the role of Herod into another stratosphere.     

Paramount’s Jesus Christ Superstar is a fascinating production that entertains nonstop from its opening overture to its near-finale number “Superstar”. Featuring a wealth of acting and singing talent and a rockin’ orchestra that does the soundtrack right, this could possibly be one of the most polished, expressive and enjoyable musicals to come our way in some time.  

Superb. This beautiful production is super recommended.

Magnificently directed and choreographed by Ron Kellum with music direction by Tom Vendafreddo, Jesus Christ Superstar is being performed at Paramount Theatre through May 28th. For tickets and/or more show information click here.       

The plot is simple enough. Donna Sheridan raises her daughter Sophie now twenty-years-old, on a Greek island where she runs a small island resort. Sophie, about to get married, wants to be walked down the aisle by her father. Problem is, she doesn’t know who her father is. A bit of snooping through her mother’s diary offers three possibilities, leading her to invite each to her wedding, much to her mother’s chagrin as Bill Austin (Steve O’Connell), Harry Bright (Michael Gillis) and Sam Carmichael (Jeff Diebold) show up to the island where Sophie figures to find out which is her real father. Again, the plot isn’t very complicated. But we do not see Mamma Mia! for its plot, we see it because it’s Abba charged soundtrack is fun, the set and costumes are colorful, the dance numbers are contagious and the show has a good share of laughs. Simple, light and fun - the perfect anecdote to escape from the daily, or not-so-daily, doldrums so many of us endure, if even for two hours and twenty minutes.

Currently running at Paramount Theater in Aurora, we get a production equipped with a slightly different set from the traditional Mamma Mia! look fans have come to known, and it works quite well. Accompanied by a full backdrop flooded with video projections of waves gently making their way to the shoreline and trees with leaves softly blowing in the wind, it’s easy to get lost in the rich island atmosphere. Though the set design limits the larger dance numbers, this production makes it work with its own unique choreography that rivals most other presentations. 

A strong ensemble bolsters a capable cast, the musical numbers strongest during choruses or added backing vocals. Though Amy Montgomery as Donna can carry a tune, her voice is just enough to warrant her taking on the leading role. However, she is often strengthened by surrounding cast members during harmonies, and by the way – the harmonies throughout the show are fantastic across the board! But Montgomery clearly has the personality and charisma for the role, overall making her casting sensible. Donna’s two sidekicks Tanya (Jennifer Knox) and Ali (Sara Sevigny) are wonderfully played, each character getting their respective laughs and admirably tackling their vocal duties. Sevigny truly shines as Ali during her duet with Bill, “Take A Chance On Me” displaying a great sense of comic timing (as well as O’Connell), while Knox hits one out of the park in her gritty number “Does Your Mother Know” showing off her dancing prowess in a heated exchange with Pepper, the young flirt who has eyes for her since her arrival to the island. 

We can easily buy into Dieblod, Gillis and O’Connell as Donna’s three past love interests, each also adding to the production with fine vocal offerings and just the right touch of physical humor. Diebold is no stranger to the role of Sam Carmichael having toured with Mamma Mia! on the Broadway North American Tour.    

Still, you can’t have a successful production of Mamma Mia! without a strong Sophie, and Kiersten Frumkin is just that. Vocally on par for each of her many numbers, Frumkin is able to capture the essence of Sophie, projecting a true sense of wonder, hope and elation into her role, creating a believable twenty-year-old optimist that we can’t help but relate with and root for. 

Though Mamma Mia! is far from a profound life lesson, it does promote self-acceptance in many ways and leaves us with hope that past mistakes can sometimes be corrected, even if twenty years later. 

With one Abba hit after another Mamma Mia! grabs its audience from its opening number “I Have a Dream” and doesn't let go until after its finely built crescendo finale number “Waterloo”, where each seat in the theater is now empty due to its occupants dancing and clapping along with the cast. 

Mamma Mia! is the feel good night out everyone can use to take in some great music and have some healthy laughs that will have audience members wanting to do it all over again. Mamma Mia! is being performed at Paramount Theatre through October 30th. For tickets and/or more show information visit www.paramountaurora.com. 

As Sophie sings along with Bill, Harry and Sam, “Thank you for the music”.

Recommended.