Be a Man

Shane

City Lit is opening its 46th season with a new adaptation of a classic Western. Originally published as a novel in 1949 and made famous in a 1953 film adaptation, it tells the story of a mysterious drifter, the titular Shane. He comes into the lives of the Starretts, a homesteading family in 1880s Wyoming, as they face increasingly violent efforts by a wealthy rancher to force them off their farm. Mark Pracht adapted the novel for the stage and also directs. Anchoring the show is Michael B. Wood in the title role. He does an excellent job portraying the inner conflict of a man trying to forget a violent past while facing a violent present. “Stoic” can be hard to portray on stage in a way that doesn’t come off wooden. Wood did a great shop showing that still waters run deep.

Fresh and New

Dirty Dancing, The Musical

There’s no denying it. This is an era when both jukebox musicals and film adaptations dominate the Broadway scene. So it isn’t surprising that “Dirty Dancing,” one of the most popular movies of the 20th century, was eventually adapted into a theatrical musical. DIRTY DANCING, THE MUSICAL combines both genres in one. It’s like a theatrical presentation made in heaven. And while this new production is back in Chicago for at least a third visit (I’ve lost count), it feels fresh and new and much welcome, especially now.

The First Oral Contraceptive

The Birth of the Pill

TimeLine Theatre Company, now comfortably ensconced in their stylish new home, is following up their spectacular opening production, ENEMY OF THE PEOPLE, with a historical story that’s more contemporary than the Ibsen classic. Based upon Jonathan Eig’s 2014 nonfiction work, The Birth of the Pill, subtitled “How Four Crusaders Reinvented Sex and Launched a Revolution,” this new play is enjoying its World Premiere in Chicago. Both the book and playwright Jessica Huang’s interesting one-act play, reveals the rocky road toward the creation and controversial impact of the first oral contraceptive for women.

The Importance of Being Kind

Mean Girls

Currently, there are two beautifully produced musicals playing in the Chicagoland area that remind theatergoers of the importance of being kind to everyone around us. One is the beautiful COME FROM AWAY, now playing at the Marriott Theater in Lincolnshire; the other is Paramount’s season opener, the current captivating and colorful production of MEAN GIRLS. At present, despite what most Conservatives claim, that Christian attitude is often lacking in our country. Now, more than ever, we need to remember and practice the Golden Rule and treat others the way we would like to be treated. “Mean may be easier than nice, but at what cost?” asks Devon Hayakawa, the talented director of Paramount’s dazzling production of MEAN GIRLS. And this is the theme of at least two musicals worth visiting this Fall.

Welcome to the Rock!

Come From Away

This is going to sound really weird, but I want to sign up to kiss the cod, so I can become an Islander! I assure you this won’t seem like a strange activity after you’ve seen this extraordinary, exhilarating and life-affirming musical, now playing at the Marriott Theatre in Lincolnshire. First of all, this musical is not, as many have labeled it, about the tragedy of 9/11. That horrendous event of 25 years ago serves to inspire the plot of the show. But the musical isn’t about the terrorist attack. COME FROM AWAY is a positive, uplifting, brilliantly written and professionally performed musical with a great score that’s set up by the appalling events of that day. COME FROM AWAY is a moving, cathartic experience about the triumph of humanity over hatred. It’s an exhilarating, joyful, often funny and sometimes heartbreaking story that celebrates the good that lives within each of us. It shows what happens when people put aside their fears, prejudices and hostility to embrace all that it means to be human. Welcome to the Rock!

A Flaming Good Time

Joan Crawford Goes to Hell

In continued celebration of their 25th year of creative and hilarious parodies and productions, a company that often features drag performances and LGBT+ storylines in their plays and musicals, Chicago is being treated to a revival a fan favorite from 1999. Jeff Award-winner David Cerda, the founding member and Artistic Director of Hell in a Handbag Productions, wrote and stars in JOAN CRAWFORD GOES TO HELL, a funny, festive and far-out comedy that offers theatergoers an absolute flaming good time.

Art Isn’t Easy

Sunday in the Park With George

“Art isn’t easy.” This simple statement of the obvious is the lyric from Stephen Sondheim/James Lapine’s multi award-winning score that best crystalizes the essence of their 1985 Pulitzer Prize-winning musical. For the theatergoer unfamiliar with this magnificent musical, the show fictionalizes the life of French artist, Georges Seurat. It was inspired by the artist’s towering, Neo-Impressionistic masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, which, by the way, hangs in the Chicago Art Institute. Indeed, the unique musical focuses primarily on Seurat’s greatest creation. The painting is a prime example of his theory of art, which he called pointillism. In this style of painting, Seurat speckled the canvas with dots of pure color to form an image, relying on the eye of the viewer to optically blend the colors from a distance. The show also examines the painter’s isolated life and his singleminded dedication to his art, as well as its effect on those around him.

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.