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.  

Drury Lane Theatre has put together perhaps the most visually stunning and vocally finessed production of ‘Mary Poppins’ one could possibly see.  An imaginative, ever-changing bright and colorful set with loads of special effects surrounds a most remarkable cast, highlighted by Emilie Lynn who wows theatre goers as Mary Poppins.     

Now, fifty-five years after the release of the classic Disney film starring Dick Van Dyke and Julie Andrews, comes this new heartwarming and spectacular production of ‘Disney and Cameron Mackintosh’s Mary Poppins’ directed and choreographed beautifully by Marcia Milgrom Dodge.

A family is in trouble, the children are spoiled and bored and as troublesome as can be. Their mother, Winifred Banks (Alexis J Roston), is neglected and feels unappreciated. Winifred’s husband George (Matt Crowle) is cold and overworked and pays little mind to his wife and two children. Completely consumed by his work, life at the bank has been stressful for Mr. Banks. They could use a little help. They need a nanny – a new nanny. They have had many before, but none have ever been effective.  

The children, George (Hunter Dimailig or Sebastian Merlo) and Jane (Grier Burke or Nicole Scimeca), write a list of the qualities they’d like in their new nanny. Nothing too outrageous, they ask that she be kind, care about them, give them candy and be rosy cheeked and pretty to look at. Mr. Banks does not take his children seriously and destroys their little help wanted ad. However, not long after, Mary Poppins appears quite magically at their door ready for work – with the handwritten ad. She is stern and no-nonsense but is kind and good-hearted. 

She quickly wins over the children – and audience - with the charming number “Practically Perfect (I Am Perfect in Every Way!)”. From there the story is one fantastic adventure and life lesson after another as Mary Poppins works to get the household in ship shape despite dealing with a cranky Mr. Banks, a frazzled housekeeper and clumsy, but loveable butler who just wants to help. 

We really see who Mary is when she and the children run across Bert (James T. Lane), a friendly artist who sells paintings in the park. He knows who Mary is and is aware of the magic she brings.

Mary Poppins has true supernatural abilities that she uses to convert the children. A game she plays called “walk in the park” shows them the wonder of simple things from being out in nature. The simple, yet joyfully enchanted “walk in the park” also introduces the children to the concepts of accepting others of lower social standing like the chimney sweeps, and the poor old lady who finds joy in feeding the birds from a park bench.

In time, maybe Mary can bring out the child in Mr. Banks once again.

Emilie Lynn is splendid as Mary Poppins. She has the poise and rosy-cheeked prettiness to carry the role in itself, but it is Lynn’s sensational voice that really gives Drury its perfect Mary Poppins. Charming and graceful, as well, Lynn epitomizes the characteristics one would expect to see as Mary Poppins. She even channels Julie Andrews with her vocal prowess. At the same time, Bert is well cast with James T. Lane a true delight to watch. Lane’s singing and dancing are impressive, but it’s his energy and sense of kindness felt throughout the theatre that really gives us our Bert. Together, Lynn and Lane are unstoppable. 

This delightful musical has so many star performances that cannot be overlooked. To name a few, Matt Crowle brilliantly captures the essence of Mr. Banks to precision while Alexis J Roston is the ideal counterpart to Crowle as Mrs. Banks, both delivering vocally and adding a nice comedic touch when asked upon. Joe Capstick gets to show off his ability to take on a humorous role as the Park Keeper as does Sawyer Smith as Robertson Ay, the house staffer.

But not only are we treated to an extremely talented leading cast and ensemble that amazes from one scene and song/dance number from beginning to end, the set itself is a spectacular sight and the special effects are many and will fascinate adults as much as they will children.Filled with many classic hits that include “A Spoonful of Sugar,” “Step in Time,” “Supercalifragilisticexpialidocious” and “Let’s Go Fly a Kite”, this production does not stop entertaining from the word “Go”.        

‘Disney and Cameron Mackintosh’s Mary Poppins’ is being performed at Drury Lane Theatre in Oakbrook through January 19th, 2020.

For tickets and/or more show information visit www.drurylanetheatre.com.

So…a theatre, a rock band and a production company got together and decided to put a show together. Only this wasn’t just a theatre, it was Den Theatre, one of the most experimental and influential theatres in Chicago today. Nor was this just any production company. Jacaranda Collective is a theatre company, led by the out-of-the-box vision of artistic Sam Bianchini and associate artistic director Halie Robinson director, both who thrive on passionate and provocative storytelling, and the team responsible for this year’s outstanding production of “My Name is Rachel Corrie”. And The Family Crest is not your average band. Instead they are an orchestral indie rock band, led by Liam McCormick, that takes its listeners on a different journey with each song. Together, we have the perfect team of collaborators to pull off ‘Romeo and Juliet: The Spectacular Retelling of the World’s Greatest Love Story’. 

Performed in the largest of Den Theatre’s spaces, the audience is seated to form a three-quarters theatre-in-the-round, a stage for the band sitting at one end. The actors flow freely, not neglecting a single space in the theatre, as the Shakespeare’s story of Romeo and Juliet is beautifully told in both acting and in songs performed by The Family Crest. 

‘Romeo and Juliet: The Spectacular Retelling of the World’s Greatest Love Story’ revisits the classic tale of two young lovers, Romeo Montague (Alex Quinones) and Juliet Capulet (Halie Robinson), that fall in love despite the hatred that lies between their families. The unique play received an added boost with a live band accompaniment that really takes the story to another level. Several scenes had the San Francisco-based band perform wistful songs from their Beneath the Brine and The War: Act I albums, as the actors would join in with choreographed dance movements that perfectly synced with the dreamy sounds, creating a multi-sensory sensation that can only be had in this one-of-a-kind production. In all, we get a masterpiece of a story that is executed to perfection in its own original way thanks to its talented direction, cast and band.

The production also injects its own modern twists and sense of humor into the play’s dialogue - crowd favorite Mercutio (wonderfully played by Kade Cox) donned in drag and sharp, whimsical musings often spewed from the mouth of Juliet. Yet, at the same time, the play never loses the integrity of Shakespeare’s work of art as it was intended. The love was as refreshing as we have always experienced and the tragedy just as heartbreaking.

Here as a special three-day event, ‘Romeo and Juliet’ ends on a much higher note that we are accustomed, the theatre transforming into a concert hall as The Family Crest treats the audience to a live performance that includes songs from previous recordings and upcoming album The War: Act II. 

Theatre and Family Crest fans can only hope this production returns in the not-so-distant future – and maybe, just maybe that will happen. Near the show’s end, the fantastically Family Crest frontman, Liam McCormick asked attendees if they would like to see this show return to Chicago.

The answer – an unequivocal, enthusiastic “HELL YES!”

What better props and scenery than that in one’s own imagination? And what better way to give each audience member their own unique experience than to let each follow their own journey guided only by storytelling without any visuals to distract, detract or force its own interpretation of what we are supposed to see?  Theatre in the Dark masterfully succeeds in bringing to life a story that is sure to be different for each end everyone in attendance. ‘Three Stories Up’ is the theatre production’s company latest undertaking – a noir mystery/thriller that takes places in complete darkness.

Taking place at The Church on Thorndale (1244 W. Thorndale), theatre goers are put into different groups consisting of just a handful of people each. We are then led through the main congregation area of the Church, through a hallway and into a small, but comfortable, sized room. At that point, all attendees are blindfolded and led in a single file line - holding onto the shoulder of the person in front of us for guidance - into another room where we are seated. Before taking off the blindfolds, we are given instructions and cautionary directions on what to do should claustrophobia take effect – so, worry not, every precaution is taken and by the time the play begins, we are at ease and ready to immerse ourselves into a suspense mystery. 

We are then directed to remove the blindfolds – and it is pitch black. After waiting for my eyes to adjust just ever so slightly to see the most minimal amount of light, I realize minutes later, nope, this is truly the absence of light in its greatest sense. A hand inches from one’s face may have well been twenty feet away. And though the actors move about, and are sometimes seemingly inches away from seated guests, they make a point to not touch anyone. 

 
Chicago playwright Mackenzie Gordon gives us a gripping 80-minute drama done in the style of radio mysteries done in the 1930s and 1940s. As the story progresses, we hear characters move from one location to another. Director Cory Bradberry does a wonderful job of delivering this engaging story that revolves a Canadian transit cop, Beatrice Dulaurier, who finds her husband dead upon coming home, as each scene is painted so beautifully that vivid images effortlessly appear in our heads throughout.

As a crime drama that has all the elements of a noir thriller, ‘Three Stories Up’ is filled with colorful personalities including the hardboiled detective, the ambitious (and suspicious) journalist and a host of quirky characters. Unsure of how many cast members were handling the voices of the story’s characters during the performance, I was surprised when it turned out to be just two actors handling all the roles – Bethany Arrington (Beatrice Dulaurier, others) and Mackenzie Gordon (Gunner Bjornsen, others). Both were nothing short of outstanding. And kudos to Corey Bradford who really enhanced the overall experience with strategic foley and sound design.

‘Three Stories Up’ is a thriller that keeps its audience guessing, but the originality behind the production – and its precise execution - makes it a must see as one of Chicago’s more creative theatre adventures.

‘Three Stories Up’ is being performed at The Church on Thorndale through November 9th.

For tickets and/or more show information, visit www.theareinthedark.com.   

 

*Now extended through February 16th due to popular demand

“Lenny Bruce was the defender of all people. Notorious from his belief that people give words power. It’s not the words itself, but the intention,” says playwright and performer Ronnie Marmo in the show’s playbill - A Note from the Playwright titled “Why Lenny Bruce? Why Now?”

‘I’m not a Comedian…I’m Lenny Bruce’ should be one of the hottest shows in Chicago this Fall. Coming hot off a sold-out Los Angeles run, the story of one of the most controversial, yet influential comedians, Lenny Bruce, comes to the Royal George Cabaret Theatre. Directed by legendary actor Joe Mantegna and produced by Lenny Bruce’s daughter, Kitty Bruce, we get a production that is hard-hitting, hilarious and flat out ballsy.

Ronnie Marmo as Lenny Bruce is a powerful force to be reckoned with and his deliciously vivid script couldn’t be performed any better. I’d be hard-pressed to say which is more impressive, Marmo’s dark, daring and funny script or his acting prowess as the controversial 1960’s comic. Let’s just say the two fit perfectly together to give audience members a thrill ride that doesn’t let you go.

‘I’m not a Comedian…I’m Lenny Bruce’ puts Bruce onstage in a stand-up atmosphere where he delivers intimate stories that shaped his life and beliefs – some tragic, some humorous and some heartwarming. He was close to his mother, revered his life love Honey and loved his daughter to no end. He was often arrested for his words. He fought drug addiction – and lost. Marmo as Bruce also becomes the vessel for the fearless and outspoken comedian who tells it like he sees it, often using obscenities and rants about the same topics that are touchy in today’s world – fifty years later – such as racism, government aid, religion, the criminal justice system, gender inequality, etc., etc., but probably most of all censorship. An unwavering advocate for the First Amendment, Bruce vehemently preaches the dangers of losing the right to free speech, often musing the crowd with stories of arrests and harassment by authorities for simply saying words not everyone wanted to hear.

“I disapprove of what you say, but will defend to the death your right to say it.” Evelyn Beatrice Hall (a.k.a. S. G. Tallentyre) wrote in 1906’s The Friends of Voltaire. This quote epitomized Bruce’s beliefs.

Since Bruce, many comedians have followed in his footsteps, often citing him as their greatest influence, such as Richard Pryor, George Carlin and more recently Sarah Silverman and Bill Maher, the latter very outspoken about the censorship put in place by tech communication giants Twitter and YouTube. It is without doubt, Lenny Bruce would cringe at what has been happening over the past few years where some comedians are not allowed to perform on certain college campuses or where “disagreeing” is often quickly labeled a hate incitement and therefore censored no matter your political stance, religious views or assessments on life. Silence opinions - delete instead of discuss.

The perception of recent fragility wafting in the air where people get overly offended at very little or seemingly nothing these days (words over intention) has been a huge talking point for comedians like Jerry Seinfeld, Chris Rock and David Chapelle (to name a very small few) to the point some might wonder if someone like Bruce could have survived today’s social climate. But, as a betting man, I’m sure Lenny Bruce would still be knocking down walls and fighting to his last breath to exercise the right of free speech.

Ronnie Marmo’s play has come at just the right time at its relevancy in today’s world couldn’t be timelier. Marmo makes his point on the importance of free speech to perfection in this powerful production while also delivering an engaging, inside look at someone who changed the landscape for comedy as we knew it.

Comedy great Richard Lewis says of Marmo’s performance, “Lenny’s life pours out of him,” while Kitty Bruce goes a step further by calling it, “The best portrayal of my father I have ever seen. Brilliant.”

Compelling, inspiring and thought-provoking, ‘I’m not a Comedian…I’m Lenny Bruce’ is highly recommended.

‘I’m not a Comedian…I’m Lenny Bruce’ is being performed at the Royal George Cabaret Theatre through December 1st. For more information visit LennyBruceOnStage.com.

*Extended through February 16th 2020

It’s hard to believe that is was just fifty years ago, the United States of America successfully sent astronauts to the moon – a first in world history. Something that we now take for granted, we sometimes forget the incredible journey it took to get there. We sometimes forget about the trek in space itself and the bravery in each astronaut, but also the teams of engineers, the trials and errors and the importance that America be the first to put a man on the moon. To celebrate this amazing accomplishment, the Melbourne Symphony Orchestra (MSO) performed “The Greatest Hits of the Galaxy” at Symphony Hall. It was the first of, hopefully, many more performances in Chicago by this gifted orchestra.

Fiercely conducted by Benjamin Northey, the orchestra beautifully played several of our favorite space movie classics including a handful of John Williams’ Star Wars scores, the unforgettable theme from E.T. and even the opening song for Lost in Space. While the orchestra’s flawless music circulated throughout the venue, projections were displayed on the theater’s walls and ceiling that would, with the slightest bit of imagination, take us on a space journey of our own. At the same time, video was displayed on a large screen above the orchestra that would also match the music being played sometimes showing imagery of zooming through the universe, sometimes displaying video of the actual space travel of the historic plight to the moon and, towards the end, a tribute to all the teams that have participated in space travel.

Hosting this spectacular event was George Takei, best known for Hikaru Sulu, helmsman of the USS Enterprise in Star Trek. Takei came out to introduce each number, joke with the audience and relive some of his own fascinating stories. He also introduced special guests that included jazz legend (from Chicago) Kurt Elling, superstar trumpeter James Morrison and astronaut Charlie Duke. Elling, who has performed with MSO in Australia, wowed the crowd with his rendition “Come Fly with Me” before ending the evening with James Morrison and MSO with a touching version of “What a Wonderful World” that would have made Louis Armstrong very proud. (Elling will be performing at Symphony Center May 1s 2020).

The night was full of highlights. Each number was a highlight as was each appearance by George Takei, James Morrison and Kurt Elling. But perhaps the biggest moment was when Charlie Duke took the stage and the crowd took to their feet with a long, heartfelt ovation. Duke, the youngest astronaut to have walked on the moon, piloted the Apollo 16 in 1972 and has spent 265 hours in space. The banter between Takei and Duke was priceless and they talked about the influence that Star Trek had on future space travelers and, of course, what is was like to actually walk on the moon and other interesting tidbits of his 11-day space journey. “I didn’t want to come back,” Duke laughed. Duke also stated that he believes we are on the cusp of space tourism. “Well, I hope they hurry,” joked Takei. “I want to go there for real.”

After watching the painstaking details of getting a man to the moon and the time and dangers involved, Takei humored, "Wow. It seems like so much work. All we had to do was beam up and beam down."

“The Galaxy’s Greatest Hits” was truly an out-of-the-world experience and a one-of-a-kind production that will be etched in the memory of each attendee.

The pairing of Kevin McKillip as Sherlock Holmes and Joe Foust as the sleuth’s ever-loyal sidekick Dr. Watson could not have been any more perfect. The chemistry between the two alone, as audience members are treated to a volley of entertaining banter back and forth throughout, is well-worth the price of admission for First Folio’s latest production ‘Sherlock Holmes Last Case’ at the Mayslake Peabody Estate by Charles Marowitz.

Splendidly directed by Janice L. Blixt, we are taken through a series of twists and turns (some on more comical side) as Sherlock may have met his match once and for all. Mainly set in the impressive study of Sherlock’s home, it doesn’t take long for a mystery to unfold and the wits of a master detective put on display. Sherlock, no stranger to patting himself on the back, is self-assured as always, though his fantastic intelligence is put to the test like never before. Yes indeed, Sherlock is in for the fight of his life.

There is plenty in this story to keep one engaged from one moment to the next thanks to its many cliffhanging moments, its quirky characters and the dynamic performances of it very talented cast. First Folio veteran and Chicago theatre favorite Kevin McKillip is nothing short of sensational as Holmes, grabbing the audience with nearly every line delivered. His precise timing commands laughs when needed and he is able to pull us in deeper to the mystery with a single utterance or glance. First Folio Joe Foust is always a pleasure to watch and his portrayal as Dr. Watson is no different. Foust and McKillip complement each so well in this production, it would be difficult to cast the roles any better. The play also gets a lift from Belinda Bremner who shines as Holmes dependable housekeeper, Mrs. Hudson, as well as Rene Ruelas who plays Inspector Lestrade. Lydia Hiller makes her First Folio stage debut as ‘Liza’ and makes a splash with a very solid performance. Hiller has worked with First Folio in the past where she adapted and wrote lyrics for the theatre company’s production of ‘Shew’d!’

Adding to the thrill of this play is its venue. Mayslake Peabody Estate in Oakbrook is the perfect home for ‘Sherlock’s Last Case’; the mansion seemingly coming out of Holmes’ mystery itself. We can easily imagine Holmes and Watson strolling through its vast hallways and perusing the many books in its perfectly-weathered library.

A well-designed set and along with era-perfect costumes successfully takes us back in time to the late 1800’s. This is thanks to Angela Weber Miller (Scenic Design), Rachel Lambert (Costume Design) and a very capable production team.

‘Sherlock’s Last Case’ is a wonderful theatre experience that is sure to absorb all kinds of theatregoers, especially those in search of a good mystery.

Highly recommended.

‘Sherlock’s Last Case’ is being performed at Mayslake Peabody Estate in Oakbrook through November 3rd. For tickets and/or more information visit www.fisrtfolio.org.

Drury Lane brings Alice Walker’ 1982 novel ‘The Color Purple’, which found major success as a film in 1985, to the stage in what is sure to be a memorable experience for theatre goers. After its opening night performance, many who had seen either the Broadway run or national touring version of the classic story, emphatically stated that Drury Lane’s production is the best they have ever seen. That’s saying something.

 
The story takes place in the early 1900’s and continues through about halfway through the century. Following the journey of Celie, an African American woman in the American South, we get a story of heartbreak, unspeakable atrocities and more importantly that of hope and perseverance. Still a child, Celie has two children by the age of fourteen – both by her father, Alphonso. Not long after her second child is born; her father tells Celie he is going to get rid of the child just like he did with the first. Celie’s only comfort is in spending time with her slightly older sister Nettie and the two vow to never leave each other’s side. 

But four years later, a local farmer, Albert “Mister” Johnson asks Alphonso to have Nettie’s hand in marriage. Alphonso refuses, but offers up Celie instead, who is constantly referred to as “ugly”. Mister doesn’t bite but finally accepts when Alphonso throws in a cow. Mister, who had helped Nettie pursue her dream of becoming a teacher, also takes Nettie in shortly after she pleaded to stay with him and her sister alleging Alphonso is mistreating her. Mister accommodates Nettie, but always having eyes for her, attacks her one day and when she fights back is sent away along with the promise the two sisters will never see each other again. Once again, Celie finds herself in what turns out to be abusive relationship with a much older man.

It seems hopeless for Celie until a racy lounge singer comes into their lives – Shug Avery.

From there the story takes on many directions and we wonder if Celie will ever see her sister again or be released from the clutches of Mister.

 
With an already powerful book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, the direction by Lili-Anne Brown and gifted cast assembled puts this production over the top. Eben K. Logan is stupendous as Celie in every way as we are hopelessly drawn into her character one moment and marveling at her vocal ability the next. Logan is a true find and leads this amazing cast that also features Sydney Charles who brightly shines as Shug Avery, Nicole Michelle Haskins whose moving portrayal of Sofia truly resonates and Melvin Abston who is nothing short of commanding as Mister. The cast rounds out with an incredibly skilled ensemble that features Drury veterans Adhana Reid and Lorenzo Rush Jr. along with Camille Robinson, Jos N. Banks and a host of other talents. Kyrie Courter is just wonderful as Nettie while Gilbert Domally’s Harpo couldn’t be better. 

Besides a powerful story that is sure to move its audience members, it contains one enjoyable musical number after another from its title song “The Color Purple” to touching numbers like “What About Love” and “Somebody Gonna Love you”.
Drury Lane’s ‘The Color Purple’ is engaging from beginning to end as it retells a classic story of strong will and courage.

Highly recommended.

‘The Color Purple’ is being performed at Drury Lane Theatre in Oakbrook through November 3rd. For tickets and/or more information, visit www.drurylanetheatre.com.  
 

Theatre at the Center brings back ‘Over the Tavern’ fourteen years after the 1950’s comedy brought audiences to their feet. Finely directed by Ericka Mac, ‘Over the Tavern’ is set in 1959 and is a comedy centered around the Pazinski family. Devout Catholics, young Rudy (Logan Baffico) is a precocious twelve-year-old who spends much time in detention where he repeatedly challenges the teachings of Sister Clarissa (Janet Ulrich Brooks). Rudy is not trying to be confrontational or funny, he is genuine when asking why he shouldn’t shop around for a more fun religion. Of course, Sister Clarissa and her ruler doesn’t see it that way and finds Rudy to be a troublesome kid with attitude. 

We often get to experience Rudy under the Sister’s guidance and the banter between the two is quite riveting, and humorous, at times, though it is in the home amongst his family that we really get an inside look at Rudy. Rudy’s father, Chet (Eric Slater), is tough, no-nonsense and, though he can show his temper on occasions, can also be warm and loving. He runs the bar below the family’s upstairs apartment and sometimes forgets to pick up dinner from the nearby Italian restaurant, much to the irritation of his patient and sensible wife Ellen (Corey Goodrich). Eddie (Seth Steinberg) is the older brother and is exactly that, the conventional older brother. He may tease his younger siblings but will also protect them without a second thought. Isabelle Roberts plays Annie, the middle child. 

The play does a great job of creating a late 1950’s setting and gives us a stereotypical Catholic family of that time period – the stay at home mother, the breadwinning, hardworking, middle-class father and their three children who find safety with their mom while distant and fearful of their dad. The play also hits home for many of us that attended Christian or Catholic schools when it was okay, and even expected, for faculty to physical punish heir students. 

Tom Dudzick’s semi-autobiographical play not only has a strong script, but Theatre at the Center gives this production some extra oomph by putting forth an all-around excellent cast. 

Janet Ulrich Brooks is nothing short of sensational as hard-nosed Sister Clarissa and is enjoyable to watch in each of her scenes. Logan Baffico makes a fine impression in his TATC debut as Rudy as does Eric Slater as Chet. Both steals scenes at moments and are thoroughly engaging. Most who follow this terrific theatre in Musnster, Indiana are already aware of Corey Goodrich’s talents, and she delivers once again in this, her 14th Theatre of the Center production. It is always a pleasure watching such talent grace the stage.

Loaded with laughs and touching moments and a few life lessons, ‘Over the Tavern’ is just as fresh and relevant today as it always has been. Kudos to such a gifted cast, the show’s flawless direction and a set that takes us back to middle-America 1959.

Recommended.

‘Over the Tavern’ is being performed at Theatre at the Center through August 11th. For more information, visit www.TheatreAtTheCenter.com.

In 1956 a psychological horror-thriller film hit the big screens across America that undoubtedly shocked audiences nationwide. The film, The Bad Seed, was based on William March’s 1954 novel of the same name and also hit the stage that same year. In a time when UFOs and alien invasions caused country-wide panic, now comes a film where a sociopathic eight-year-old girl, Rhoda, murders when she doesn’t get what she wants when she wants it. Her mother, growingly suspicious of her daughter’s wicked deeds, is caught at a crossroads not knowing what to do since she also loves her more than anything in the world. The film goes on to debate whether criminal behavior is caused by one’s environment or perhaps is inherited. Sometimes a person is just a bad seed, right?

As serious and as creepy as the film is, it is the perfect material for the Hell in A Handbag theatre company to parody. Adding their own twists and turns and injecting their own unique blend of humor, the masters of camp have now given Chicago its newest comedy hit, The Drag Seed, by David Cerda. You may have guessed by the title that a drag theme is added to the story, this time the villain is not eight-year-old Rhoda but eleven-year-old Carson (Kristopher Bottral), a spoiled drag queen whose temper is turned on with a flick of the switch the moment he (in this case, “they/them,” as demanded by the child) doesn’t get what they want. The plot thickens as a trail of mysterious deaths occur throughout and Carson always seems to be found nearby.

It’s just a not-so-everyday life in the affluent suburbs where Miss Charles (David Cerda) is a live-in landlord. Miss Charles has taken a liking to tenants Miss Lingus (Ed Jones) and her dear Carson. Lee (Kelly Anchors) serves Miss Charles as the estate’s very quirky handyman and loves nothing more than teasing young Carson, who attends The Josephine Baker Rainbow Academy for Gifted Students led by Miss Ficus (also played by Anchors). It’s when fellow student Summer Breeze (Tyler Anthony Smith) wins a competition over Carson and is found dead shortly thereafter that the intrigue begins.

Carson’s mother Miss Lingus (“just call me Connie”) is at first ignorant to the clues being laid out in front of her, but slowly pieces them together and becomes conflicted since she loves her son more than a "fuck ton of kisses". Carson’s as a matter of fact behavior surrounding every death is not just a big clue, it’s downright creepy.

Directed by Cheryl Snodgrass, The Drag Seed, is a hilarious ride that’ll keep audience members on the edge of their seats. Ed Jones is like fine wine and just keeps getting more delicious with each show. I’ve probably said that this the last time around, but it’s true once again - Jones’ performance as Miss Lingus may be one of his best yet. His knack for executing the perfect facial expression at just the right moment coupled with capturing just the right tone in his line delivery makes him a comedic force. Excellent performances flood the stage in this production with Kristopher Bottral’s all-out hilarious and highly energetic “Carson” while David Cerda is comedic perfection as Miss Charles. Kelly Anchors doubling up for the roles of Miss Ficus and Lee is yet another highlight in this show, particularly the brilliance she infuses in her role as Lee, creating yet another sidesplittingly funny character that we won’t forget anytime soon. Handbag fave Elizabeth Lesinski returns, this time as Wendy Breeze, Summer’s drunk and distraught mother, and makes the most of her role with a flawlessly camped performance of Eileen Heckhart’s character in the 1956 film version. I know – high praise all around. Yes, but well-deserved. Sydney Genco and Tyler Anthony Smith also rock their roles, making this a truly well-round effort.

Handbag stalwarts will undoubtedly be very pleased with Cerda’s newest production and newbies that attend will be sure to get hooked on Handbag’s camp theatre.

The Drag Seed is perfect mid-summer fun and is an easy show to recommend. If you get the chance be sure to check out the The Bad Seed prior to seeing this production, if for anything just to appreciate Cerda’s brilliance that much more and the character nuances that these talented actors have so brilliantly executed into their roles. If you’re unable to catch the film first, don’t worry, you’ll still have a blast.

The Drag Seed is being performed at Mary’s Attic in Andersonville through August 24th. For more show information visit www.handbagproductions.org