Theatre Reviews (196)
CATS made a short lived return to the stage with its only North American production that played from from May 1st-6th at Chicago's Cadillac Palace Theater. For what became the longest running musical in theater history, CATS return was not a very long one. For those of you that can remember, CATS was huge in the ‘90s and it spread quicker than Cabbage Patch Kids. Everyone wanted to see it from children to elderly couples in retirement homes. CATS was in the news, the papers and was even featured TV shows. Who hadn't heard of CATS in the ‘80s? For its remarkable popularity, I would of thought that the show would have ran for a lot longer than it's 6 day return!
I do remember the buzz and all the hype, and for the most part I remember loving CATS as a kid - a kid. Maybe it was the high expectations previously instilled in me from its past success, but unfortunately, I did not enjoy this show as much as I thought I would have. This was very disappointing to me since I was nothing but excited ever since I heard CATS would be coming back for a short time to Chicago. Though there were certainly some enjoyable highlights over all; I liked CATS a lot more before I actually saw CATS. After seeing it as an adult, I've come to a conclusion that this is definitely a show more for kids than for adults. Good thing there was a bar with cold beer and a television that showed all the action when I needed a break from the show.
Try as I might; the problem I had with this show, was the storyline. I just could not follow it for the life of me. Though I am familiar with the story, as I've seen the performance on TV as a child, what I saw seemed to lack substance. I had expected more of a story than a song and dance show. That's not to say that CATS was at all boring. The performers gave life to the show as they really fell into their roles as cats and the musical numbers were simply wonderful. Still, this was a musical that is (to me) for children...and possibly cat crazy people. With a group of cats called the “Jellicle Cats” and characters named “The Rum Tum Tugger,” “Bustopher Jones,” “Mungojerrie,” and “Rumpelteazer,” it was hard for me to follow what the hell was going on. I'm more used to characters named John, Michael, Jessica, etc.
Over all, the show was great and I was entertained most of the time. The scenery, costumes and enthusiasm of the performers were fantastic. It takes talent to stay in the character of a cat and I have a lot of respect for anyone that was involved with this particular production. CATS is a significant musical that literally changed the scene of theater and it has continued to dazzle audiences and fans since its opening day. Though I may not have enjoyed the musical personally, I couldn’t help but be entertained. They are obviously doing something right, or it never would have gained such popularity.
If I were, say a kid again, I think I would have been smiling, giggling and loving every second of the performance. Just scanning the crowd you could see all the little ones on the edge of their seats chuckling and kicking their feet through every song and dance. That part, I enjoyed the most. As I sat there watching the performance, I thought about how awesome the parents were that brought their kids. In the end isn't all for the kids anyways? It’s all about creating an exciting, wonderful memory for their children. That was a beautiful thought to me. So though people like me may not have loved the show wholeheartedly, it was obvious the entire time how a show like CATS came to be such a momentous production in theater.
Caught in the Jazzy Web of Spider Saloff's One Woman Show “The Roar of the Butterfly”
Written by Kimberly Katz
I thoroughly enjoyed Spider Saloff's performance at Victory Gardens Theater. Spider has a wonderful, smooth, rich tone to her voice and impeccable phrasing. Although there were serious technical difficulties
with her microphone that continued throughout her performance, she unflinchingly “drove right through it”
and maintained her focus on the eight characters she has so lovingly handcrafted.
Spider has a great sense of humor and her Marlene Dietrich inspired character and dance number,
“Falling for Everyone” was absolutely spot on and completely adorable.
I highly recommend seeing “Roar Of the Butterfly” for appreciators of fine Jazz vocals who are looking for a delightful evening of light yet poignant and meaningful entertainment.
Spider Saloff on the creation of her one woman show;
"This performance is in the tradition of Lily Tomlin and Tracey Ullman, so I portray eight different characters in what's best described as a musical comedy," Saloff said.
"When my husband died, the play took a complete turnaround, and I eventually decided to write myself out of it and turn it into the story of Butterfly," says Saloff, whose show launches its Chicago premiere engagement Thursday night at Victory Gardens' Richard Christiansen Theater.
Saloff plays multiple characters who gather for Butterfly's memorial service, all soliloquizing and singing about how the late drag queen changed them.
"It's about an individual who touched so many lives in so many different ways,"says Natalija Nogulich, who's directing the show. "But it's not like he got up and sang a song to a bunch of schoolchildren and they were wowed. He had an alternative lifestyle. He seemed to touch everyone: a hairdresser, the waitress, the man who drove his limo.”
"Not only do they remember him, but he did something significant in their eyes. He sparked someone to follow a dream for dancing. He sparked someone (else) not to give up on his daughter's addiction. But I also made the decision that I was going to talk about loss, and not have it just be a crazy comedy. I mean, it is a silly comedy, it has wild characters, it's based on weird people … but it does talk about loss and death."
"The whole story has a kind of leavening feeling. Even though it's a memorial, like many memorials, it's a celebration."
Spider Saloff’s ‘The Roar of the Butterfly” is playing through May 20th. For ticket information, visit www.victorygardens.org.
Steppenwolf's season of “Dispatches from the Homefront” has travelled from Greek legend to contemporary Iraq. Now, it splits the difference and hones in on a time in America when the battlefield and homefront collided. Countless historians have told the tale of the War between the States; from analysis of military strategy to reporting of death tolls, our collective fascination with American-American bloodshed has never been satiated. But what these numerical overviews devalue is the story of the mundane individual: the nobody father weeping over his dead son, the forgotten lover sending notes to her husband-to-be, and, of course, the horny detractors who took self-serving advantage of a young nation being pre-occupied with survival.
The latter characters, Arly (the impecccable Ian Barford) and Will (the shapeshifting Stephen Louis Grush) are the comedic relief and driving force in Frank Galati's adaptation of D.H.Lawrence's “The March.” A piece of historical fiction which weaves invented characters into the preserved war record, “The March” follows a handful of personal narratives forged in a time when life and death were separated by thin lines, like stripes on a flag. Arly and Will, the dynamic duo whose bravado is only surpassed by their libido, fight on both sides of the conflict and push us forward through the plot of the war. Neither man actually existed, but by blurring fact and fiction, Lawrence offers up a sort of “People's History of America.” Fictional nobodies coexist with historical behemoths, most notably the general Ulysses S. Grant, boomibly embodied by Harry Groener.
Grant's writings are staged as soliloquies directed to the brooding mass of the audience. The tensions he faces of ordering a group of men to their death is similar to the task Frank Galati has undertaken, as he “orders” a large cast to translate an enormous war into a finite stage. The soldiers rise to their general's challenge, and “The March” is able to represent the Civil War not only in content, but form: like the war that spanned across five Aprils, the two-act epic spans almost three hours; like the bloodshed that affected millions of Americans, the play enlists an ensemble of over thirty. The piece is a strong representation of the war, but that doesn't save it from – like war – occasionally being boring. While the mundane can be imbued with profound significance, it can still come off as siply mundane. On the whole, “The March” will not keep you on the edge of your seat; it's a story that has been well-worn, but that doesn't keep it from being exceptionally well-told.
The March is stomping at the Steppenwolf through June 10, 2012. Tickets at www.steppenwolf.org.
Shattered Globe’s “Her Naked Skin” Powerful and Smart
Written by Paul Black
Directed by Roger Smart, “Her Naked Skin” takes an in-depth look at the Suffragette Movement in London throughout the year 1913. It’s a time when women were imprisoned during their struggle to obtain the rights that men held. “Her Naked Skin” takes the audience to a gritty period when women were still held down by men and expressing the desire for a voice was nothing short of dangerous.
The play is not only a glimpse of such an important movement, but also follows the love story of women’s leading advocate Lady Celia Cain and seamstress, Eve Douglas. The two meet while in prison, finding not only a bond by common ground, but also a true appreciation for each other both emotionally and physically. Lady Celia, imprisoned in her own marriage as the perpetual subservient to her husband, William Cain, finds new life and meaning in her relationship with Eve, who is much younger.
The story is gripping in itself, but gets an additional boost from its excellent cast. Superb acting from head to toe are present from beginning to end, including standout performances from Linda Reiter (Lady Celia Cain), Tim Newell (William Cain), Drew Schad (Dr. Vale, Edward Grey) and Melissa Riemer (Florence Boorman).
The set is simple but seems to make sense in every scene thanks to creative vision, smart lighting and subtle sound effects. That, combined with excellent costume design, makes the year 1913 come alive.
Rebecca Lenkiewicz “Her Naked Skin” is important, entertaining and well crafted. This show should be on every theatre-goer’s radar.
”Her Naked Skin” is being performed at Stage 773 (1225 W Belmont) through June 3rd. For tickets and more information, visit www.stage773.com, www.shatteredglobe.org or call (773) 327-5252.
Their Days Are Numbered; New glam rock show 'Rise of the Numberless' fights the power
Written by Kendall Guimond
The government is feeding you lies. The Numberless are here to bring you the truth of what really happened. No, this isn’t a story ripped from conspiracy theorist’s website; this is RISE OF THE NUMBERLESS, a new glam rock production playing at the Flat Iron Arts Building in Wicker Park. So don those four cornered glasses, skinny jeans, and scarves and get ready to rebel – hipster style.
From the moment you arrive at the Flat Iron you are brought into a rebellious movement that has been going on for generations. You are greeted by ‘the Numberless,’ (the cast already in character) and offered cans of PBR and ear plugs (both of which I highly recommend you take). I thankfully had a seat in front of a speaker, but much of the audience was left standing in true underground-fight-the-power rally fashion. Throughout the 90 minute show (without intermission), the ensemble cast tell their story of a futuristic/historic/quasi realistic/science fiction world where a group of underground throwaway Americans rebel against their government for acknowledgement and equality.
The basic story :: in the future Congress passes a law mandating that each family is only allowed to have one child who is then encoded with a number on their wrist. Any additional child a family produces is illegal, given no number (hence the ‘numberless’) and sent to live in secrecy in pods across the country, their very existence denied by the government. This all occurred 25 years ago according to the play, making this an interesting past/future timeline. The Numberless are now fighting back and we learn the history of the each member, tragic events that lead to the downfall of their first rebellion, and their resurgence into normal society.
The interesting story and history of the Numberless are told by the ensemble cast of ‘RISE OF THE NUMBERLESS’ through monologues, reenactments and of course glam rock. Some of the pieces are better than others and some cast members shine much more brightly in this loud, foot stomping performance and as an audience member, you must have a willing suspension of disbelief and an uncanny ability to follow the storyline. It is a little jumpy in parts, but the cast does a fairly good job at distinguishing past events from present events through their eyes. As you are brought into the numberless world of rebellion and rock, try not to dissect the story too much (even the Hunger Games left the reader with a lot questions about the context and environment). The play is not about the finite details, it’s about escapism, and ‘RISE OF THE NUMBERLESS’ is a departure into another world (be it historic or futuristic) for 90 minutes of your life. Enjoy the ride, but be warned if you are not a fan of dark crowded spaces, standing for a 90 minute show, or are simply don’t like loud eardrum-erupting music, ‘NUMBERLESS’ might not be for you. But the music is actually very good and the songs and lyrics are all original. Audiences looking for a departure, or a little bit of fight-the-power energy, head to Wicker Park and see ‘NUMBERLESS,’ you won’t be disappointed. Careful though, you could be found to be a Numberless sympathizer and be jailed, banished into exile, or killed. Totally worth the risk to see it.
How Does the U.S. Civil War Epic, The March, Rank?
Written by Tracy Walsh
When I saw the title The March my mind envisioned Chippendale-Dancer looking studs marching while wearing Drummer Boy pants that had been ironed with starch. Shortly thereafter, someone corrected me and said The March is an adaptation of a novel bearing the same name, written by the great author, E.L. Doctorow. In fact, E.L. Doctorow'sThe March was so adored that it was a freakin' Pulitzer Prize Finalist!
E.L. Doctorow is noted for creating historical narratives that tell the truth, but not the whole truth. For instance, Doctorow is known to put characters of his imagination into his works, as he also does in The March. The tactic seems to serve as a means to be the intimate voice of many people affected similarly and differently by a historical event(s), making his stories that much more universal, moving, interesting and thought-provoking.
The March is a depiction of General William Tecumseh Sherman and his 60,000 Union Solders' march, killing machine and subsequent massacre and conquer of the Confederate Army, as well as how they and other northerners' and southerners' were hit by it.
The March was adapted for the stage, not by some Schmuck or loser, but by majorly talented Frank Galati. Galati is a member of the prominent Steppenwolf Theatre Company ensemble in Chicago, and has been the winner of Tony Awards. Galati also directed the big ticket-seller, Ragtime, which is another reason why his talent is nothing to sneeze at.
Regardless, I still questioned how a Debbie Downer's dream subject matter was going to go down onstage without the sights of audience members bolting for the exit doors, or sounds of ballistic bawling or roaring snores.
I saw The March at the Steppenwolf Theatre in chi-town, and I learned only 2 percent of the play's dialogue had been changed from that in the novel. I additionally found the dialogue included sentiments and information E.L. Doctorow had gotten from General Sherman's multiple self-documentations, and actual letters solders had written for their families back home.
The heart-strings pulling, yet witty and delightful as all heck dialogue, was the most enjoyable part of the play. To elaborate, although members of the audience body surfing during the production probably would have been heavily frowned upon, The March was uplifting enough on its' own that it did not need it.
Further, due to the plays good plot, themes, dialogue, acting, music and set design, it was a completely enthralling work of art done keenly by Galati. A portion of the cast is made up of: Ian Barford, Carrie Coon, Shannon Matesky, Harry Groener, Alana Arenas, James Vincent Meredith, Philip Brannon and Stephen Lois Grush. Some of the thespians have been in other plays, films and television shows you have likely seen or heard of. There are 26 actors in The March, including pretty ladies and male hotties, that one of the phrases in the play goes, could "make your hooves fly!" Yes in my book, Frank Galati's adaptation of The March ranks high.
For ticket information please visit: www.steppenwolf.org
Jersey Boys! This Broadway spectacular has made a roaring return to the stage, since its original debut in 2005, and it’s better than ever! This show has dazzled audiences in Chicago, Sydney, Philadelphia, Melbourne, Toronto, Las Vegas and even London. After Wednesday night’s performance, it’s clearly obvious why Jersey Boys has made such a fantastic return to the stage. But, catch it while you can however, because Jersey Boys is only playing for 9 short weeks, from April 5th – June 3rd at the beautiful Bank of America Theatre in Chicago.
Jersey boys, is a “documentary” style musical about the 1960s super group, The Four Seasons. Each act is narrated by each member of the group and tells the story of how the group came to be, their careers and their eventual breakup as a group. It is nonstop fun from beginning to end and has a heavy dose musical numbers and nostalgia throughout. It’s no wonder why this show has attracted so many theatre goes (over 1 million) since its inception in 2005. It’s got style, class, live music, and anyone who enjoys a good show with lively performers and live music will be sure to add this show to their ‘favorites’ list. The entire production is an experience and completely sets its self apart from any other production around. In the words of Tommy DeVito, “it’s like being in a fucking time machine!” On stage, the chemistry between the performers is simply fantastic, and as an audience member, you really feel like your back in time, seeing their story unfold live and on stage.
My favorite part of the show was looking around the audience periodically and seeing all the smiles throughout the large crowd. Jersey Boys is a real crowd pleaser! It was amazing to see the clear enjoyment of each and every one of the “older” audience members in the theater, as well as all the youngsters. However, the eyes and smiles of the “older” crown seemed to say it all; eyes shining like a child on Christmas morning and grins that ran ear to ear. As I watched the show I thought to myself how amazing the show must really be to some of the audience, reliving past memories of their youth. As when they were young, THIS was the music of their generation. When they turned on the radio back then, this music, these songs were on the radio. You could really tell how much some of the audience enjoyed it, as some of the audience members loved singing along to their favorites.
Jersey Boys does an amazing job of bringing those “old” hits back to life, and for 2.5 hours they will rock you right out of your seat and leave you wanting more! It is an experience worth remembering for a long time to come. If you or anyone one you know loves music, you will love this show! Be cautious about bringing young children to this show however, as it does have its fair share of profanity here and there; and most importantly there are age requirements for many Broadway In Chicago shows. Visit the Broadway in Chicago website below for pricing, show/ticket information and be sure to check this performance out before it’s too late! Who knows when it will be back!
www.broadwayinchicago.com
Gimmie Just One Night, and Another, and Another Please; Luna Negra’s single night performance of Carmen was sensational
Written by Kendall Guimond
As a lover of classic ballet, I’ve never been a huge fan of modern, contemporary dance. Every show I’ve seen was a little to obtuse, it didn’t really tell a story, and frankly it just never made a whole lot of sense. My opinion of modern, contemporary dance has completely changed from seeing the single-night performance of Luna Negra Dance Theater’s modern homage to the opera.
Carmen, choreographed by Luna Negra’s Gustavo Ramirez Sansano, is a powerful, graceful, sexy, and at times humorous, interpretation of Georges Bizet’s classic Carmen. Not familiar with Carmen? Carmen is a fiery story of passion and envy. Don Jose, a Spanish officer, falls for a gypsy named Carmen, a tempestuous woman. Through the four acts, Don Jose’s world crumbles around him as he spirals deeper and deeper into an obsessive love, fueled further by Carmen’s wooing suitor, Escamillo, and Don Jose’s love and envy eventually lead him to devastation and disgrace.
Luna Negra’s interpretation of Carmen was set against Bizet’s original, familiar music. The costumes and set design were extremely minimalist, leaving the eyes to feast upon the intensity of the dance; graceful lines, intimate twists and lifts, technical and mechanical arm movements, all telling the story of infatuation between Don Jose and Carmen. The entire production was beautifully cast, and the whole company deserves a standing ovation for their work and technique. Monica Cervantes as Carmen and Eduardo Zuniga as Don Jose were brilliant as the leads and Stacey’s Aung, who played Don Jose’s other love interest Michaela, had the most graceful, elegant lines of any dancer that took the stage. But Escamillo, performed by Nigel Campbell, was electrifying and enchanting, and when paired with Cervantes’ Carmen, was downright sexy. The whole cast of Luna Negra is talented beyond measure, but that is thanks to the dance theater itself. Luna Negra Dance Theater was founded in 1999 and since its inception the company celebrates the richness and diversity of Latino culture through the creation of works by contemporary Latino choreographers; and what a gem Carmen is to add to the company’s impressive offerings.
It’s a shame Carmen was only one night! Let’s hope Luna Negra’s Carmen is not too much of a tease and decides to give us another taste of this amazing show in the near future.
Some people may jokingly say Riverdance is just a batch of lads and lasses looking like they have ants in their pants. But, such lips should be zipped, considering it takes a lot of heart, soul and skill for individuals to be able to master the obviously complex forms of dance, showcased in The Broadway smash, Riverdance.
Yes, the extensive success of the production, whose tour of the planet earth has taken the same amount of miles as it does to travel to the moon and back, have some Irish Dancers of their Troupe who had sprung into training at the age of 4. The specified youngsters were given unique tap shoes, in that they were very heavy. Therefore, dancing in these hefty “claude hoppers” required the children’s ankles to be exceptionally agile and legs outstandingly strong.
With that said, can you imagine competing with those highly talented legs and “footsies” in a game of Double Dutch Jump Rope? Or, having one of the Irish lasses, wearing her loaded tap shoes, kick you in the gonads?
Moving right along, weighty tap shoes are also worn by the Riverdance Irish Dance Troupe to this day on stage. When I saw them, at one of their last shows at the Oriental Theatre, flash fascinatingly fast and fancy footwork, and slam down their feet with extreme might, it was greatly admirable all right!
Also, although the Irish Dance Troupe dances ever-so-vigorously for a breathtaking spell, deep pride and strength are shown in their stance and written all over their face. Further, none of the Riverdance Dance Troupes get their wondrous abundance of energy because they are “Meth or Crack-heads”—the Riverdance performers in general are simply heavy drinkers—of water and Gatorade, that is!
In fact, from the spring of Riverdance in 1995 to the present, riveting Riverdance’s performers (musicians, singers and dancers) reportedly have “chugged” 200,000 gallons of water, 60,000 gallons of Gatorade and have pleasured themselves with 60,000 pounds of chocolate!
Sadly, every dance troupe of Riverdance will be hanging their soaked shoes to dry, as far as the production’s tour in the U.S. is concerned, on the 17th of June this year. Riverdance has definitely made a jumbo splash during its 15 year run, with its’ final blast offs that’ll knock your socks off, in Chicago from the 13th to 18th of this month.
The powerful sights and sounds of Riverdance performers (musicians, singers and dancers) were supremely intense, at times heavenly humorous, and through and through addictive! Astronomically critically acclaimed Riverdance is not only a show of Irish music and dance, either—it unveils styles of additional cultures music and dance, as well. Plus, I think Riverdance’s themes, including Ireland’s History, religion and politics, are such that probably all cultures can relate to. Also, in my humble opinion, experiencing the Journey of Riverdance will have Irish Eyes a Smilin’ and those of others.
Composed by Bill Whelan
Produced by Mora Doherty
Directed by John McColgan
Story doesn't move as well as the cheerleaders in "Bring It On: The Musical"
Written by Zach Zimmerman
The 2000 teen comedy "Bring It On" is a cult classic. The 2012 musical of the same name likely won't be. Borrowing the title and not much else, "Bring It On" relies on a formulaic, fairly conventional plot peppered with high-flying acrobatic cheerleading routines. It's entertaining enough, especially for the mostly younger tween audience in attendance, but when you put "the musical" in your title, you promise that story and song will be central.
The musical creates a wholly new plot from the film, although it is still a well-worn one. White head cheerleader Campbell is redistricted during her senior year to a mostly black and hispanic high school. Cue the lessons about race, identity, and being yourself. Bridget, a slightly chubby girl who provides most of the comedy in the show, excels in the new school since she's always been an outsider. Eventually, everyone learns something about themselves and a happily ever after ensues.
Throughout, the high-flying acrobatic work of the ensemble dazzles, as performers in red skirts are launched into the air almost as high as the mezzanine. A series of shifting digital screens add to the theatricality, transporting the action to different settings, whether a bedroom or basketball court, in a rather innovative way. The altogether aesthetic is a bit cartoonish, but when your subject matter is competitive cheerleading, it's hard not to venture into Looney Tune territory.
With a writing team that combines talent from Avenue Q, In the Heights, and Next to Normal, one might expect "Bring It On" to be fresh, subversive, and full of catchy, diverse, and memorable songs. Instead it is rather mainstream musical comedy, which sadly lacks any songs that stand out. When the lyrics disappoint, the choreography dazzles almost as if to distract rather than enhance the plot. What's most surprising about the book is a commendable move to feature a transgendered character in a strong supporting role. While many of the character's laughs come from just being trans, a solo power ballad reveals a the obstacles she has overcome. "Is that a boy, Mommy?" the young boy in front of me asked mid-show. I didn't catch his mother's response, but the inclusion of a trans character in an otherwise dated musical comedy certainly opened the door for a teachable car-ride conversation on the way home.
Bring It On: The Musical is at its best when the cheerleaders are flipping and twirling across the stage. The final climax of the show is truly breath-taking, and is a marvelous convergence of poppy song with powerful dance that furthers the plot. Overall, the show is an entertaining night out, but don't expect any emotional resonance to lift you off your feet.
Bring It On is bringing it at the Cadillac Palace through March 25. More information at BroadwayinChicago.com
