CHICAGO – The watch must finally come to an end for “Thrones! The Musical Parody,” announcing today the fourth and final extension at Apollo Theater (2540 N. Lincoln Ave). The “Game of Thrones” send-up will close March 19, 2017 after an eight-month run at the Lincoln Park theater. Hailed as “a robust comical homage” (Chicago Sun-Times) and a show that has “the audience falling off their chairs” (Chicago Reader), “Thrones!” is written by the team behind “Baby Wants Candy,” “Shamilton: The Improvised Musical” and “50 Shades! The Musical Parody.” A cast of six Chicago actors recount plot highlights throughout all six seasons, complete with more than 40 characters and 21 original songs ranging in style from hip hop to traditional Broadway. Tickets ($36 - $59) for performances beginning February 16 through March 19 go on sale Monday, January 23 at 10 a.m. and can be purchased at the Apollo Theater Box Office by calling 773.935.6100 or visiting Ticketmaster.com.
A second production of “Thrones! The Musical Parody” continues its West Coast run at Hudson Theater Mainstage (6539 Santa Monica Blvd, Los Angeles), through February 26, 2017. The LA premiere has been hailed as “comic gold” (Broadway World), “witty and riotous” (Discover Hollywood) and “a parody of epic proportions” (LA Post Examiner). For more information and tickets for the West Coast run, visit ThronesMusical.com.
“After workshopping this production in July, opening in September and now playing through spring, we are thrilled that “Thrones!” continues to make our audiences laugh night after night,” said Executive Producer Rob Kolson. “While all good things must come to an end, ‘Thrones!’ has been an incredible production for the Apollo, and we are sure of its continued success around the country as the television show thrives.”
As Spencer, Brad, Hayden, Ross, Kelly and Tom gather for the season finale of “Game of Thrones,” they soon discover the ultimate travesty: that Brad does not watch the show. Over the course of 90 minutes, the group bands together to act out all six seasons (read: spoilers) for Brad, including dashing men battling White Walkers, ravishing women riding fire-breathing dragons, and the infamous “Walk of Shame.” “Thrones! The Musical Parody” debuted to completely sold-out performances at the 2015 Edinburgh Fringe Festival and was hailed as “darkly humorous and beautifully vulgar” (Edinburgh Festival Magazine) and “a resounding success!” (Sunday Times), followed by a sold-out, limited run at London’s Leicester Square Theatre. In its run in here in Chicago, “Thrones!” is a “hilarious ride that never slows down” (BuzzNews Chicago) and “unfailingly witty and deliciously irreverent” (Performink). The cast of “Thrones! The Musical Parody” includes Caitlyn Cerza, Dan Gold, Madeline Lauzon, Beau Nolen, Victoria Olivier and Christopher Ratliff.
“Thrones! The Musical Parody” is written by Chris Grace, Zach Reino, Al Samuels and Dan Wessels. The production is directed by Hannah Todd, choreographed by Tyler Sawyer Smith and produced by Emily Dorezas, Rob Kolson and Al Samuels. The creative team includes Thomas O. Mackey III (Set Designer), Eric Backus (Sound Designer), Amanda Gladu (Costume Designer), Patrick Ham (Prop Designer), Clare Sangster (Light Designer) and R&D Choreography (Violence Design). Dakota Hughes and Mike Danovich are the production understudies.
The performance schedule is as follows: Thursdays and Fridays at 7:30 p.m., Saturdays at 6 p.m. and 9:30 p.m. and Sundays at 4 p.m. For ticket inquiries for groups of 10 or more, call Group Theater Tix at 312.423.6612. To learn more about “Thrones!” visit the website, and follow along on Facebook, Twitter and Instagram.
About Baby Wants Candy
“Baby Wants Candy” has performed more than 2,000 completely improvised musicals to thousands of fans from Chicago to New York to Singapore to Scotland. Currently, “Baby Wants Candy” runs in Chicago at the Apollo Theater, in Los Angeles at UCB Sunset and tours internationally. A cutting edge theatrical experience, the performance features a revolving cast of A-list comedic performers and a full band.
“Baby Wants Candy” begins with the cast asking the audience for a suggestion of a musical that has never been performed before. Accompanied by a full band, the first title that the group hears becomes the title and theme for that evening’s 60-minute show, featuring a roller coaster ride of spontaneously choreographed dance numbers, rhyming verses and witty, jaw-dropping comedy. Each performance is its own opening and closing night, and by design every show is completely unique and a once–in a lifetime premiere.
“Baby Wants Candy” has received rave reviews in The New York Times, The Huffington Post, The Onion, Chicago Sun-Times, TimeOut New York and more, and has received numerous awards including the winner of FringeNYC’s Outstanding Unique Theatrical Experience, Best Improv Ensemble by Chicago Magazine, the Best Visiting Comedy Ensemble by TimeOut New York, the recipient of the Ensemble of the Year Award at the Chicago Improv Festival, and a rare Sixth Star Award Edinburgh Fringe Festival.
“Baby Wants Candy” has included several notable performers including Peter Gwinn of “Colbert Report;” Rachel Dratch and Aidy Bryant of “Saturday Night Live;” Stephnie Weir of “MadTV;” Nicole Parker of “MadTV” and Elphaba in “Wicked” on Broadway; Jack McBrayer of “30 Rock;” Al Samuels and Kevin Fleming of “Sports Action Team;” Thomas Middleditch of “Silicon Valley;” Garry W. Tallent of Bruce Springsteen and the E Street Band; Mark Pender of The Max Weinberg 7 and Bruce Springsteen and the Seeger Sessions Band; and Johnny Pisano of the Jesse Malin Band and The Marky Ramone Band. Members of “Baby Wants Candy” have recently written the hit off-Broadway show “50 Shades! The Musical Parody” and “Shamilton: The Improvised Musical.”
About Apollo Theater
The Apollo Theater, located in the heart of Chicago’s Lincoln Park since 1978, has been home to many of the city’s biggest hits including the recent “Million Dollar Quartet,” which holds the record for the longest-running Broadway musical in Chicago history. Resident companies of the Apollo Theater include Emerald City Theatre Company and “Baby Wants Candy,” and many up-and-coming companies can be seen nightly in the theater’s 50-seat downstairs studio. Recently renovated and fully accessible, the Apollo Theater’s intimate 435-seat mainstage continues to deliver world-class theater as one of the city’s premiere off-Loop houses.
After a successful summer preview run, "Thrones: The Musical Parody" has returned to Apollo Theater for Fall performances. Though the production might not have the staying power as did "Million Dollar Quartet", a show originally scheduled for a two-week run that was renewed for several years, "Thrones" is a solid production that, despite its niche market, should get comfy in its Apollo home for a decent stay.
Parodying Game of Thrones, one of the biggest television series over the past decade "Thrones" hold little back, cleverly mocking its main characters delivering a crude, but witty, humor GoT fans are sure to enjoy. From the show's opening number "Thrones!", a song that punches the audience with spoilers and refers to "The Wire" as a show one doesn't realize they like until after two and a half seasons, we get a good taste of the campy ride we are about to take. The show's very funny cast includes Caitlyn Cerza, Nick Druzbanski, Madeline Lauzon, Beau Nolan, Victoria Olivier and Christopher Ratliff.
The story revolves around a group of friends who excitedly await the GoT season premiere. However, after some lackluster enthusiasm is displayed, it's soon revealed that Brad (Druzbanski) has never seen the show. Of course, this is just mind blowing for the rest of the gang who quickly agree to act out the show to catch Brad up to speed. And this is where it starts to get crazy. In fact, the show takes a hilarious turn the moment Tom (Ratliff) throws on the John Snow wig and makeshift cape just before diving into his ode to The Wall watchers "For the Watch". And how can you have a wall number without taking a poke a Donald Trump, which they certainly do. Taking shots at practically every character on the show from Tyrian to Sansa to King Joffrey to Xerxes (there's actually a song on who we need to know), the group goes from one scenario to the next. Naturally, Brad's interest in the show grows as the friends get deeper and deeper into the characters.
Act One ends on a high note with possibly the funniest number in the show, "Stabbin'", a gruesomely humorous massacre free-for-all that really needs to be seen to be appreciated in full. But worry not, after a big ending into intermission, we are not let down, as Act Two holds a strong pace by providing solid laughs throughout, steering us to a strong finish. Each actor richly contributes in this talented cast holding the ability to get big laughs at any given moment as well as providing respectable vocal ability. The cast brilliantly overplays their characters expressions and are able to successfully spoof their many characteristics such as Tyrian's poor accent, John Snow's seemingly empty thoughts or _________ not so subtle crush on Denarys.
Written by the team of Chris Grace, Zach Reino, Al Samuels and Dan Wessels, the show gets a nice boost from director Hannah Todd, who is able to work the funny within the funny and finely translate it for stage. While GoT fans will certainly enjoy this show, easily picking up on its jokes - both subtle and bold, it remains to see how theater goers not familiar with the show will react. The GoT fan base in Chicago might be enough in itself to support this show for a long run, possibly even creating new GoT fans along the way.
"Thrones: The Musical Parody", performed at Apollo Theater through November 15th, has plenty to make it a thoroughly entertaining event - laughs, sex, an engaging storyline,catchy songs and excellent acting performances.
Take your Game of Thrones experience to the next level with "Thrones: The Musical Parody".
Helldrivers of Daytona, currently running at the Royal George Theatre, is a fun idea. It is a musical that seems to mostly spoof Elvis’ Viva Las Vegas, a story of a talented race car driver who needs to scrape up enough cash to get his car into the big race. James Nedrud does his best in the lead as Lucky Stubbs, lampooning the Elvis-like role, but often ends up shouting his best songs. Nonetheless, he does succeed nicely as a caricature of the sexy, country boy trying to make good we know from the film, coming off as a fey, one level dummy adding a lot of humor to the role. Nedrud’s expressions alone often draws laughs along with his overdone Southern accent and quirky denseness.
The parodied scenes from Viva Las Vegas are many, from the girlfriend, Pepper, singing a song about how jealous she is of Lucky’s race car, the active competition with a French racing rival and even Lucky’s stint working as a hotel waiter where he walks in on Pepper and his challenger. Again, the idea was there. Problem is, despite some good acting and singing performances throughout the cast, the production goes a bit overboard with its silliness and many jokes simply fall flat.
The music, composed by The Knack’s Berton Averre, captures the 1965 period nicely, some songs stuffed with clever punchlines, however, outside of a couple catchy melodies, most numbers will probably have a hard time sticking, as they fall a bit on the repetitive side.
Samantha Pauly stands out from the entire cast and is a superb comedienne in the role of Pepper Johnson, Lucky’s sex kittenish, Anne Margaret type love interest. Her introductory song, "Peppers' Crazy Feeling" is hysterical as Pepper has one orgasm after another just by driving her pink colored bumpy, throbbing stick shift - an adorable convertible aptly named "Pinky”, getting huge laughs with each big "O", some of the only genuine laughs in the show. As the bi-sexual, millionaire race car driver and Count, David Sajewich is also funny even when he later channels a twelve-year-old French murderess to kill Lucky in the race (I told you it goes overboard).
There are three essential speedway groupies and a tomboyish tag-along (Rachel Melius, Leah Morrow, Claire Lilley, and Julia Rose Duray). All had great voices and are played with real energy, sex appeal and great comic timing.
The beach bums who become Lucky's race car pit crew (Trey Curtis, Aaron M. Davidson, and Chris Selefski) have some funny moments and are good singers. Danny Herman and Rocker Verastique's choreography is often very sexy and funny at the same time, especially the dance numbers of seduction between Lucky and Pepper and Pepper's competing courtship dance with the Count.
I adored Brenda Winstead's costumes particularly for all the women characters. The girl's outfits were colorful, perfectly cut for the time period and eye-poppingly sexy without actually revealing anything.
"Teenage Dreams" sung by the three groupies is the most memorable and interesting song to me. Their three fantasies in the number include, a Daddy's girl whose fixation on her handsome father still gets in the way of her love life, one was into being a dominatrix and having her man be her obedient puppy dog, and the third, raised Catholic, insists on finding a man who looks and acts like Jesus, her hero and savior. I thought this song’s lyrics were very cleverly written and delivered by the girls and really captured the repressed fantasies and dating blocks that many women of all ages possibly struggle with today. Happily, for this trio, each one eventually finds her perfect mate in the trio of pit crew boys who help Lucky win the race.
At a running time of 2 hours 25 minutes there are definitely still some cuts to be made but I had a lot of fun watching the show, and think a younger crowd at a theater with a more progressive reputation would as well. It might also be a good idea to take in Viva Las Vegas beforehand to really get the show’s camp.
Despite the show having a few more misses than hits, Helldrivers of Daytona still has enough laughs and doses of nostalgia that most will probably enjoy it overall. Its originality also counts for something, especially in its big finale racing scene.
In its World Premiere, the pre-Broadway tryout, Helldrivers of Daytona, is being performed at Royal George Theatre through October 30th. To find out more about the show go to www.theroylageorgetheatre.com.
*UPDATE – Due to negative reviews, the show has been cancelled for the remainder of its run. A statement was made from the show’s producers, “We all believed in Helldrivers of Daytona and more importantly believe in creating new works for the American Musical stage. We are disappointed by the critical response, but we knew that it was a risky endeavor. Still, many of the people who saw it were thoroughly entertained and delighted by the work of our fantastic cast and musicians. We have decided to close the production and we will evaluate how we might make changes for future productions of the musical. We want to thank our talented team of designers, our director and co-choreographer, our music director, our cast and crew, and of course our creative team who have all worked so diligently to get Helldrivers to the starting (and alas, finishing) line.”
That is unfortunate. Hopefully, we will see a tweaked production in the future.
Pinterest fails are an internet sensation, with recognizable side by side pictures illustrating the difference between expectations and reality for the everyday crafter, baker, photographer, etc. It seems that no matter how many of these memes we see, it is still commonplace to set high expectations which risk being let down.
“WOZ: A Rock Cabaret” was unfortunately a case of missed expectations. The concept is a cabaret show which tells the familiar story of The Wizard of Oz through the iconic music of the 80’s and 90’s, including hits from Whitesnake, Blondie, Foreigner, Queen and Michael Jackson. Sounds awesome, right!? While the show had its moments and some strong singers, the reality was a production that felt flat, with big moments that lost their steam and performances that lacked the luster and pizzazz expected from a cabaret.
One of the main issues with the show was the venue. Performed on stage at Victory Gardens Theater, this cabaret style show felt out of place. The performers attempted to interact with the audience but it required them to come down off the stage where they easily got lost in this stadium style seating. Had this been set in a truer cabaret setting, where the audience could sit at tables enjoying their cocktails, it could have allowed the performance to work the space both on the stage and on the floor and perhaps made the show more engaging.
The creativity behind the song selection was awesome and very often the start of a new song brought smiles, laughs and a palpable energy to the audience. As the performers sang the full songs however, it often felt like things started to drag and there was not enough happening to hold attention through to the end of the song.
The performers themselves were mostly strong overall. The standouts of the show were the journeying buddies of the Scarecrow (Kevin Webb), the Tinman (James Nedrud) and the Cowardly Lion (Edward Fraim). All three brought different unique but powerful voices to their songs and added some great humor to the show. Heather Currie was a powerhouse and had an odd but quite funny style in how she played the Wicked Witch. The performances of Clara D’Onofrio and Kimberly Lawson, as Glinda and Dorothy respectively, left something to be desired. Both have strong voices but tend more toward the musical theater style which did not always vibe with the other performers. Andre De Shields was the special guest star of the show, bringing star power to the role of the Wizard and he certainly stole the show with his numbers.
While there are some high moments and tons of creativity that clearly went into this show, the performance lacks the excitement that could have turned this somewhat lackluster show into an all-out engaging and exciting cabaret performance.
With only 5 performances, the run of this show is already nearing completion but this was its second run in Chicago, so if you really wish you could have seen it, try clicking your heels three times and say to yourself “there’s no place like WOZ” – maybe it will be back someday, bigger and better.
Here is a theater event that is so rich you cannot be disappointed. Anyone who attends Dynamite Divas: A Tribute to Women in Soul will be richly rewarded by the experience. In fact, it is so good, I would say run, don't walk, to the Black Ensemble theater to see it. (It runs through January 24.)
The premise of the play is self-admittedly thin: African-American multi-billionaire Mr. Maurice (Rueben D. Echoles, who directs, choreographs and designed costumes) has paid $2.5 million to each of four grande dames of soul - Nancy Wilson (Rhonda Preston), Gladys Knight (Rashada Dawan), Roberta Flack (Melanie McCullough), and Aretha Franklin (Shari Addison, a real show-stealer) - who are to spend the day preparing for and then performing in a television special.
Why just these four? Well, Dionne Warwick, Diana Ross, and Tina Turner were considered - but schedule conflicts kept them away. Besides, these four personalities are probably the only compatible mix, as we discover in the course of the show.
Why put on such a show? Mr. Maurice, who claims to have earned his wealth through his inventions (e-mail, texting, touch-screens, and Botox!), wants to celebrate the musical accomplishment of these remarkable singers.
These actresses' divas, as personified by these exceptional performers, capture not just the singing style, but also the personalities of their real-life counterparts. And they, too, are mystified by Mr. Maurice's circumstances and motive. "A black billionaire we've never heard of?"
While the set-up is ridiculous, the music, and the performers, are anything but. In his performance as Mr. Maurice, Rueben Echoles sets the stage with such an abundance of energy, that he truly casts a spell across the audience, forcing the room into a complete suspension of disbelief. That is theater! (And I don't say that lightly, after four decades in the audience.)
Though well paid, these divas - in their 70's - need to be coaxed to sing at first. An extra $50,000 finally breaks the ice, and Gladys Knight lets loose with "I've Got to Use My Imagination," her 1973 hit with the Pips. This offers an inkling of what is to come: Rashada Dawan captures that teary edge to Gladys Knight's voice throughout the night, and replicates the original convincingly - with the added power of being there live.
Now that the audience knows what to listen for, the next plot turn packs a punch using the Assimilator, a kind of holographic transporter used to call up greats of the past. First a phantasm of Billie Holiday alights on the stage and performs, really channels, Holiday's "God Bless the Child" - followed by almost equally powerful impersonations of Dinah Washington ("The Bitter Earth") and Nina Simone ("Mississippi Goddam.")
As Mr. Maurice convinces each Diva to sing - beginning with first hits, and other career high points - the other three sing back-up. Music fills the 299-seat stage for what turns out to be a very short 2-1/2 hour run.
While each of these leading ladies is a powerful performer, and ably capture the singing style and phrasing of their diva, it is Shari Addison who most often seizes control of the stage - befitting her role as Queen of Soul, Aretha Franklin. As the most familiar personality, Franklin gives Addison more to work with. But in McCullough's Flack singing "Killing Me Softly;" or in Preston's Wilson doing the signature "Guess Who I Saw Today," to cite two examples, the stage, and the listeners, belong to those performers.
There are also live performances or video tributes to many other notables - Chaka Khan, Mary Wells, Patti Labelle - the list goes on. Beyonce Knowles also crashes the event, in person, asking why she isn't included in the diva pack, earning a dismissive retort from Aretha: "Do you think they will be singing 'Single Ladies' in 20 years? She also tells Beyonce, "We love your music, at least some of it."
With a rich supporting cast that includes Mr. Maurice's technicians Donald Craig Manuel (as Hubert) and Kyle Smith (as Youngblood), Dynamite Divas thrives on its six-man, all-star band: music director Robert Reddrick on drums, Justin Dillard on keyboard, Mark Miller on bass, Gary Baker on guitar, Dudley Owens on woodwinds, and Bill McFarland on trombone. These guys were versatile and solid as they ran through the years and genre of the divas. Backing Rhonda Preston's Nancy Wilson on "Guess Who I Saw," the performance was "live recording" quality.
Dynamite Divas: A Tribute to Women of Soul at the Black Ensemble Theater comes very highly recommended.
“Irving Berlin has no place in American music—he is American music. Emotionally, he honestly absorbs the vibrations emanating from the people, manners and life of his time and, in turn, gives these impressions back to the world—simplified, clarified and glorified.” - Jerome Kern
There are shows that make one proud to be an American, proud to be Jewish and proud to be of immigrant descent and Hershey Felder as Irving Berlin currently performed at Royal George Theatre is one show that does all three.
Felder proves yet again that he is a consummate master of the one person show. While his bio/docu/musicals about famous composers, from his George Gershwin Alone, to Fryderyk Chopin, to Ludwig van Beethoven, to Maestro Leonard Bernstein thrilled Chicago and LA audiences and critics alike, this production and his portrayal of Irving Berlin is quite simply the icing on the cake of his career.
Irving Berlin, whose real name was Israel Isidore Baline and whose musical background included that his father was a cantor (singer for the Temple), was only eleven years old when he left his house to find work as a singing waiter because "there were too many mouths to feed" even with his pennies earned as a paperboy.
Although Berlin's first hits were more comical and vaudevillian like “Marie from Sunny Italy”, and “Alexander’s Ragtime Band”, to grab people's attention, it was the grief over the tragic death of his first wife that he credits with teaching him how to write a real song.
Like a chapter from a sad Lifetime movie, Berlin married his adorable twenty-year-old sweetheart took her to fashionable Havana for their honeymoon and five months later she died from typhoid fever she contracted on their week-long stay.
Later he married socialite Ellin MacKay the daughter of the richest man in the United States, and wrote his classic, timeless love song, “Always”, about his pure joy at finding her. They were married for 62 years, and ironically her father disowned Ellin and Berlin for years for marrying a Jewish immigrant songwriter - until right after the stock market crash in which Mr. MacKay lost his entire fortune but Berlin wisely having purchased the publishing rights to ALL of his songs kept his finances relatively intact during the depression.
Everything went wrong,
And the whole day long
I'd feel so blue.
For the longest while
I'd forget to smile,
Then I met you.
Now that my blue days have passed,
Now that I've found you at last -
I'll be loving you always
With a love that's true always.
Days may not be fair always,
That's when I’ll be there always.
Not for just an hour,
Not for just a day,
Not for just a year,
Berlin’s songs include, “Blue Skies”, (composed for his daughter), “Heat Wave”, “How Deep is the Ocean”, “Puttin’ on the Ritz”, “Steppin’ Out with My Baby”, “What’ll I Do”, and the scores of “Annie Get Your Gun”, “Holiday Inn”, “Easter Parade,” and many more. We also learn that Berlin wrote “White Christmas” years after his son Irving Jr. was tragically found dead on Christmas morning at just three-weeks-old. In all, Irving Berlin composed 232 top-ten hits and 25 number one songs, and over 1500 published songs including one of his biggest hits, “God Bless America”.
I really loved the set which consisted of a lovely Christmas tree and piano with windows that opened onto a wonderful video presentation of the actual people, Berlin, his wives, etc as he tells a story about each. My only note for Felder is that he reconsiders having an intermission in any show he directs or stars in that is longer than 90 minutes as this one was. The audience was rapt the entire time but I felt the break in the middle would have allowed them to enjoy the show even more as a whole evening of entertainment with time to absorb and refresh between the two acts.
The artistic team for Hershey Felder as Irving Berlin is outstanding and led by Director Trevor Hay. Scenic Design is by Hershey Felder and Trevor Hay, Sound Design is by Erik Carstensen, Lighting Design is by Richard Norwood and Video Design is by Andrew Wilder. The Scenic Decoration is by Meghan Maiya.
“Hershey Felder as Irving Berlin” is a rich and fully enjoyable experience that is playing at The Royal George theatre through December 6th. For more show information, visit www.theroyalgeorgetheatre.com.
Here we go again. Wow, this year went by fast! Christmas is again just around the corner, which means it’s time to bring on the holiday plays! This year one of the funniest Christmas shows of the season will certainly be “Elf”, now playing at Marriott Theatre in Lincolnshire. Based on the hilarious 2003 film of the same name starring Will Ferrell, the play deviates a bit from its original script but carries the same overall story-line and still pushes its simple message – to spread Christmas cheer.
For anyone to pull of this production, it all really comes down to who plays Ferrell’s character as the ever naïve and loveable elf, Buddy. Fortunately, Alex Goodrich was cast in the role. Though, he has some big curly shoes to fill, Goodrich quickly wins over the crowd - maybe not the the point of "Ferrell who?" (who can?), but he certainly does a fantastic job. Goodrich’s precise comic timing and ability to be believable as a fun-loving, child-like adult who is ever so innocent of this world makes this show a big winner.
“Elf” is the story of Buddy, a human who is raised as an elf after he accidentally crawls into Santa’s sack during one of his stops at an orphanage. Despite the size difference between Buddy and the elves and his lack of toy making aptitude, it isn’t until he is a full on adult at thirty years old before he figures out that he is human. It’s at that time Santa sends Buddy out into the world – New York to be exact – to find his real father. From there, as one might imagine, is a story of a fish out of water in the biggest way.
Full of silly holiday songs that may not stick in one’s head ten minutes after the show, “Elf” is pretty much a laugh fest from beginning to end. And that’s okay since one does not see “Elf” because of its music, we see it because we want to laugh and get into the Christmas spirit. In this fun holiday treat, Goodrich finds himself surrounded by a strong cast, especially in Kevin Gudahl who plays Roy Hobbs, Buddy’s true dad, and Roger Mueller as a Santa Claus who actually weighs in on the “cool” scale. James Earl Jones II also delivers an enjoyable performance as the manager at Macy’s.
The point of the story is simple and clearly delivered – to get people in the Christmas mindset of selflessness and giving despite all the daily issues and problems we might be facing. And what’s even better is that we can have some good laughs while getting there.
“Elf” is a thoroughly amusing production that the entire family can share. Playing at Marriott Theatre through December 31st, it is the perfect way to get a jump start and primed up for the holidays. For tickets and/or more show information, visit www.MarriottTheatre.com.
When I think of Green Day’s American Idiot, the thought of the majority of our population blindly falling in line with the agenda of media conglomerates comes to mind. It's true. America’s youth (and not so youthful) is influenced by suggestive ad campaigns, TV and film brainwashing and so forth – thus, potentially becoming the “American Idiot”. Of course if you look even deeper (and it’s hardly a secret at this point) you’ll see that media is greatly controlled by corporations, which in turn largely influences the government and vice versa, so in fact Green Day’s album American Idiot suggests the average American is literally a sculpted product of the corporate world while choices and freedoms are merely an illusion to those who do not know better.
Though I expected the production of “American Idiot” to even enhance the album’s overall theme a little more directly, it still made its point well. “American Idiot”, currently playing at The Den Theatre in Wicker Park, is the story of three youths that go in the wrong direction after unconscious exposure to selective, and purposely directed, life-long media blitzing – which is entertaining in itself, but as the show progresses it becomes more about rectifying wrongs, if possible. In short, three fed up friends take separate paths, all of which seem exciting at times, only to reunite as learned individuals at the end after their paths are simultaneously met with a longing for better lives on their own terms. It is also the story of succumbing to temptation, wrong choices, consequences and perseverance.
Luke Linsteadt stars as “Johnny”, whom the story revolves around, and while exuding a tremendous amount of energy, he also lets loose a singing voice that works very well for the role. Linsteadt’s character is complex as it can be fun. “Johnny’s” friends “Will” and “Tunny” are played by Steven Perkins and Jay W. Cullen, both roles requiring their share of lead vocals. Perkins and Cullen both have their shining moments as does Krystal Worrell who is well cast as “Whatshername”, Johnny’s girlfriend who joins him in his journey of sex and drugs until they part after realizing their relationship is mutually damaging. The ensemble is fun and lively to the point we undoubtedly know each one of them are really enjoying their roles.
An urban-like, graffiti-stained stage is background for the story, creating a simple, but sensible set. Intense dance numbers and rocking music pave the road for this quick-moving, never-boring production. Another refreshing facet of this production is seeing it removed from its usually big budget, large venue, Broadway-esque state - to which it becomes almost commercialized. Rather, The Hypocrites presentation of “American Idiot” at The Den Theatre is a much more intimate experience with a much more organic feel and genuineness that cannot be always be found in massive productions. Outside of a few vocal and instrument sound levels that could use a bit of adjusting, this is a show that really comes alive and reaches its audience in the way that it was probably originally envisioned.
What made the show even more enjoyable was the band playing in full view and the arsenal of Green Day songs played in their musical-ized versions. Different than most bands, musicians are interchangeable depending on the song and scene - a very entertaining aspect of this version as in “Who’s going to play drums on the next song?” Green Day songs in the show included, “Know Your Enemy”, “Boulevard of Broken Dreams”, “Jesus of Suburbia”, “Wake Me Up When September Ends”, “When It’s Time” and “American Idiot”. Musically, the show was a gratifying journey in itself. Kudos all around to a great production team and cast.
“American Idiot” is a 2010 Tony Award nominated Best Musical and 2010 Grammy Winner for Best Musical Show Album. This is a show that certainly has its share of energy, music and youth. Playing through October 25th at The Den Theatre, this is a show most should appreciate, Green Day fan or not. For tickets and/or more show information, visit www.the-hypocrites.com.
The China Performing Arts Agency presented “Kunlun Myth,” an original musical from producer Wang Yu, for a two-night engagement at The Auditorium Theater of Roosevelt University. “Kunlun Myth” smartly incorporated ancient and modern concepts into an elegant, sparky performance and what better venue to perform than the Auditorium Theater. During this visually stunning show, The Auditorium was filled with an incredible energy. A number of bubbly performances, original dance productions and strong vocals made for a uniquely wonderful experience.
The “Kunlun Myth” begins in the Kunlun Mountains (important fabled mountains in Chinese mythology) where the Heaven Pillar resides. This pillar connects Heaven and Earth, and serves as a portal between the two worlds. Deng Fei, a college student from Beijing, visits the Kunlun Mountains and discovers the relic of the Heaven Pillar. Deng Fei reads the pillar’s inscription and is abruptly transported to Heaven. Once there, he meets Mei Duo, the daughter of the Heaven pillar tribe’s chief. Deng Fei and Mei Duo fall in love. Deng Fei also meets Queen Mother who wishes to rebuild the Heaven Pillar because Gong Gong knocked it down. Gong Gong does not want the pillar rebuilt because he fears that the disasters from Earth will travel through the pillar and destroy Heaven. Ultimately, Deng Fei is on a quest for self-knowledge, and returns back to Earth in good spirit.
Properly capturing the mystical Kunlun Mountains on stage would seem like a difficult feat, but set designers were successfully able to create the magical mountains. Elaborate patterns and set pieces were jaw-droppingly beautiful. The creative juices were really flowing. The lighting designs were dramatic and impressive. Neon lights accentuated set pieces and made the stage pop with color.
From gold, shimmering gowns to casual khakis, the costume department was superb. Every single costume was elegant in its own way, whether it was Mei Duo’s dress, or Gong Gong’s suit of amour. The only character without an elegant costume was Deng Fei, who sported a Yankee snapback, green windbreaker, and khakis.
Beautiful vocals and powerful music made the auditorium rumble. Music styles ranged from pop, rock, and hip hop. Mai Duo sang beautifully, definitely goosebump worthy. Gong Gong had deep, commanding vocals which set the show’s deep and dark mood.
Kunlun Myth was performed in Chinese, with English subtitles to aid audience’s understanding. There were no subtitles for dialogue, only for the musical numbers. Audience members who could not understand Chinese that may have been lost during the dialogue relied on body language to help understand. Since the dialogue was in Chinese, much was left for interpretation.
Performances were held on Wednesday, Sept. 2 @ 7:30 p.m. and Thursday, Sept. 3 @ 7:30 p.m.
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