Oh Boy!

Buddy: The Buddy Holly Story

Being on tour is never easy for the performers. After traveling through the brutal Midwestern winter weather by tour bus, a vehicle plagued with faulty heating, 1950’s singing sensation Buddy Holly decided to charter a small, four-seater airplane for the stars of the tour. Following their sold-out performance of the Winter Dance Tour, in Clear Lake, Iowa, their next destination was to be Moorhead, Minnesota. But they never made it there. The small plane crashed in a cornfield, tragically killing the pilot, along with pop singers J.P. “The Big Bopper” Richardson, Ritchie Valens and Buddy Holly. The date was February 3, 1959 is remembered today as “The day the music died.”

For younger audiences, and especially those theatergoers not quite so young, audiences who enjoy a good jukebox musical, BUDDY: THE BUDDY HOLLY STORY may be the perfect show. The story traces the roots of an important and beloved American guitarist, singer and songwriter, as well as a true pioneer of rock ’n’ roll. Staged and guided with sparkle, spirit and plenty of soul by Matthew D. Carney, Drury Lane’s multitalented, newly appointed, artistic director, this musical is an excellent indication of good things to come.

The production is a slick, stylish, yet sincerely heartfelt depiction of the American Dream, complete with a wholesome love interest. Maria Elena Santiago, Buddy Holly’s girlfriend and eventual wife, is sweetly played by Samantha Sayah. The show dramatizes the meteoric musical rise to fame of a young Texas high school kid, from his early beginnings in country/western music, to become one of the early kings of pop and rock. The show is overflowing with more than 25 familiar country, rock-a-billy and rock ‘n’ roll classics. In addition to enjoying all the wonderful music, theatergoers will learn a little about the beginnings of rock music and the recording industry, not to mention the true story of young Buddy Holly during the last two years of his short life.

This two-act musical was written by Alan James. The show opened in London’s West End back in 1989, where it ran for over twelve years. Then the musical went on tour in the UK, eventually transferring to Broadway. The New York production also resulted in a number of National US Tours and regional productions, as well. In addition to being lovingly directed by Matthew D. Carney, this second production of the show at Drury Lane has been cleverly choreographed by Kenneth E. Ingram, with topnotch musical direction by Chuck Mead. Rachel Boylan’s authentic period costumes bring back memories of the Fabulous ’50s and Lauren M. Nichol’s fluid and colorful scenic design, nicely lighted by Lee Fiskness, seamlessly takes theatergoers from Lubbock, Texas to Nashville, Tennessee, to The Apollo Theatre in Harlem, New York and finally to the Surf Ballroom in Clearlake, Iowa for Buddy Holly’s final concert.

This musical journey will especially evoke fond memories for the baby boomers in the audience. Hearing these oldies-but-goodies sung and played as they were written will bring back a kinder, gentler era. But the musical will also introduce audiences to a few of Holly’s contemporaries. Most notable are the Crickets, Holly’s talented backup singer/instrumentalists. They include bass player Grant Alexander Brown, percussionist Alek Boggio and the group’s pianist is, again, played by lovely Samantha Sayah. The Apollo Theatre Emcee and singers are energetically portrayed by the terrifically talented Eric A. Lewis and Marta Bady, who bring down the house with a rousing rendition of “Shout!” Russell Mernagh delights in a number of smaller roles, but really shines with his spot on impersonation of The Big Bopper singing “Chantilly Lace.” And Elliot Coe Esquivel makes a vibrating virtuoso, filled with Latino energy, as Ritchie Valens, leading the audience in a toe-tapping, “La Bamba.”

But this show deservedly belongs to gifted Joey Chelius, as Buddy Holly. He doesn’t look exactly like Holly, except for the young musician’s signature glasses, but he sure sounds like the iconic singer. Joey’s portrayal is charismatic, charming and confident. The character begins the musical as a sweet, amiable and innocent newcomer; but as we watch Buddy Holly gradually develop into a musical star, we soon see a shrewd businessman, with the savvy to handle music managers, disc jockeys and recording studio technicians. And did I mention that Mr. Chelius can really sing! Not only that, but the young actor impressively accompanies himself on the guitar, as well. In fact all of the music in this joyful show is provided live on stage by the cast, but you’d swear you were seeing and hearing vintage films of these famous rock ‘n’ roll headliners.

It’s absolutely guaranteed that audiences will leave the Drury Lane Theatre humming some of their old favorites from this musical, like “Peggy Sue,” “That’ll Be the Day,” “Why Do Fools Fall in Love,” “Maybe Baby,” “Everyday” and “Johnny B. Goode.” But if you don’t suddenly feel like slipping into your poodle skirt, or slicking your hair back and donning your blue suede shoes, and then singing and dancing up a storm, “Oh Boy!” You just might want to have someone check your pulse.

Highly Recommended

Reviewed by Colin Douglas

Present August 19-October 18 by Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL.

Tickets are available in person at the Drury Lane box office, by calling 630-530-0111 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area shows may be found at www.theatreinchicago.com.

Photos by Kyle Flubacker

Smells Like Teen Spirit

Adolescent Salvation

Theatergoers will enter the venue by walking through a closet filled with clothing from over the years. Then the audience walks into Natasha’s bedroom, a shy, lonely 15-year-old teenager. The space is dominated by a bed, but it’s also chock-full of other furniture and an accumulation of personal affects. The setting seems to say, “This place smells like teen spirit,” to quote the popular song by American rock band, Nirvana. The room nicely prepares the audience for a drama that, like Cobain’s lyrics, sports more than a few contradictory ideas. Tim Venable’s powerful play focuses on some young characters whose secrets are revealed reluctantly and sometimes incoherently. But, that’s often true with teenagers.  

The Grease Parody

Vape!

One of the most popular of all the American musical classics is Jim Jacobs’ and Warren Casey’s much-enjoyed, much-produced, tuneful and nostalgic satire of Chicago high school life during the 1950’s. And unless you’ve been living under a rock you know that the musical was adapted in 1978 into the highest grossing movie musical of all time. It starred Aussie actress and pop star, Olivia Newton-John, and “Saturday Night Fever” favorite actor/singer/dancer, John Travolta. So, in addition to becoming an international staple for both amateur and professional theatre groups alike, the film has gone down in history as an international favorite flick.

What It Means to Be Human

Sisters

Much like this Theatre’s recent production of  LEOPOLDSTADT, Writers’ production of SISTERS is also an epic drama. Both plays span several decades, but Matthew Libby’s 90-minute one-act focuses on only two characters, whereas Tom Stoppard’s drama featured an extended family. However, like LEOPOLDSTADT, SISTERS also explores what it means to be human and the power and limitations of memory. 

Worthy of a Standing Ovation

West Side Story

Music Theater Works’ production of an American musical classic may be their finest show to date. Director Sasha Gerritson (CAROUSEL, WHITE CHRISTMAS, BRIGADOON at MTW) has beautifully staged and guided WEST SIDE STORY. The production features a truly talented cast of absolutely astounding singers with powerful acting skills and unbelievable dancing prowess. This production definitely gives the audience their money’s worth. Fans who know this show by heart and have seen it dozens of times (or even appeared in it, like yours truly), definitely won’t be disappointed. And for those lucky patrons who are discovering this American classic for the first time, such as the woman sitting next to me, Music Theater Works’ latest production is, without a doubt, well worthy of the standing ovation it receives.

Powerful and Thought-Provoking

Anatomy of a Suicide

I must confess that I wasn’t prepared to like this play, let alone love it. But I was amazed. In this superb production, the many characters, as well as the play’s powerful and thought-provoking messages these actors convey, will seep into the theatergoer’s very bones. The horrible ramifications of trauma and suicide within one family will haunt each audience member and live in their memory for days to come. 

Side-splitting Scenes From a Marriage

Gus and Alice

“Love is our true destiny,” wrote theologian Thomas Merton. “We do not find the meaning in life by ourselves alone—we find it with another.” And marriage is typically the culmination of sharing our lives with that special other. Joining another person in marriage becomes a mosaic of small and meaningful moments, a lifelong friendship with all its highs and lows, and our daily choice to love the same person over and over again. In Mike Rago’s GUS AND ALICE, a 65-minute one-act play that offers a slew of side-splitting scenes from a marriage, theatergoers will thoroughly enjoy both the comic and consequential moments in the lives of a well-matched couple in their golden years.

There’s Life Outside Your Apartment

Windows

Although there are some similarities, WINDOWS isn’t really an update of the silly 1970’s sitcom, “Three’s Company,” although both focus on two women and a man sharing a flat. And Matt Schutz’s play is definitely unlike the classic 1954 Hitchcock thriller, “Rear Window.” The only similarities are that, like the James Stewart character, Olivia has a leg injury that has stranded her on the sofa. With nothing to do, the apartment windows provide a sort of multiscreen source of live entertainment for both main characters. But in Olivia’s case, the invalid’s voyeurism strongly ignites her imagination. She begins devising complex stories about the people she sees, even inventing their names and character quirks that continually change. And so, as they sing in the musical AVENUE Q, the lethargic Olivia enjoys discovering that “There’s Life Outside Your Apartment.”

Laura Benanti On Her Own

Nobody Cares

In a very highly enjoyable evening at the Steppenwolf Theatre, multitalented Broadway, film and television actress Laura Benenti appears “On Her Own.” It’s a cabaret production that’s part original songs and part comical confessional. This one-act performance focuses the spotlight entirely on the gifted and versatile actress, as she shares the highlights of her life in an autobiographical one-woman show. Laura Benenti admits that, throughout her life, she’s always been a “pathological people pleaser.” And as such, Ms. Benenti continues to constantly seek approval from everyone; the actress admits she simply wants to be liked, “even by people who I don’t like.”