Monthly Archives: January 2012
Everything's Coming up Roses at Drury Lane Oakbrook
By Lazlo Collins
So, you know the story, pushy mother, eventually repelling anyone in her way to make her kid a star. The quiet child stays on with mom to eventually reveal her true talents. From the familiar overture to the smashing emotional ending soliloquy, this “Gypsy” at the Drury Lane Theater in Oak Brook Terrace, needs no gimmick.
I have seen many productions of “Gypsy” throughout the years. This production is one that I will not soon forget for many reasons. The late Mr. Laurents would have been proud.
Moving this mammoth of a show through its paces is the iconic character of Mamma Rose. The character of Rose is part power broker, part chow main enthusiast and part steam engine, and Klea Blackhurst is all of these things and more. The role of “Rose” takes on immediate comparisons to some of the actresses who have played her through the years; Merman, LuPone, Midler, and Daly are the actresses who have taken the part to legendary heights. Well, move over cuz Ms. Blackhurst is here! Her part Bette Midler, part Ethel Merman performance was clear and pertinent. It never felt as if she was impersonating either Ms. Midler or Ms. Merman, but rather channeling them, oh so divinely. Not only is her singing like breathing, but her smart interpretations are distinct.
There were moments in her performance that were absolutely perfect. She took over, without taking O-V-E-R. I think the audience was eagerly waiting for the finale of “Rose’s Turn”. You could feel the audience with Ms. Blackhurst’s every move and belting note. As corny as it sounds, there was electricity in the air.
Keeping up with Ms. Blackhurst would be no easy feat; but Andrea Prestinario as “Louise” is definitely up for the challenge. I liked that Ms. Pestinario never folded from her point of view. She stayed true to her vision of “Louise” and made her believable and genuine. She has a pleasing voice with some great scenes to showcase her acting chops as well. Although I thought “Little Lamb” was sort of comic and not so reflective.
In the role of “Herbie” is David Kortemeier. If “Rose” is the engine of the show, then “Herbie” is just one of the cars holding on for dear life. Mr. Kortemeier does a perfect job of keeping up with the ups and downs of life with the Mamma. I have always had a problem with this role in imaging ANYONE that would stay with Rose without, what appears to be; sex, money and stability. But that is what makes this show biz relationship so interesting. And after every time I see “Gypsy” I still think she will marry him, and he will stay. Mr, Kortemeier’s portrayal was sweet and I wanted him to stand up to her and stay where ever they went- together.
As the three wise strippers near the end of the show, Susan Lubeck (Tessie Tura,) Cheryl Avery (Mazepa), and Frances Asher (Electra) are very funny in their show stopping performance of “You Gotta Get a Gimmick”. It gives the show its perfect seventh inning stretch.
Rounding out this wildly satisfying show is the ever appealing Matthew Crowle as “Tulsa”, and Andrea Collier as “June”. They both sang and danced perfectly around the story with style.
A quick shout out to Jarrod Zimmerman, who got the comedy off to a fresh and fun start as “Uncle Jocko and the perennial Andrew Lupp providing energy throughout his revolving door of walk-ons.
At the helm, of this production of “Gyspy” with book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim; William Osetek has beautiful crafted each scene. I thought the direction was excellent and moved well with the almost stark and simple, yet complex set (Martin Andrew). Mr. Osetek hits it big with his interpretation of Mamma Rose and her caravan of misfits.
The music direction (Roberta Duchak and Ben Johnson) had a distinctively clipped pace, which made the numbers lively; although you can tell it put some of the actors through their paces, just to keep up. I think the speed added the freshness of the show, particularly the group numbers. No dirges here, all your favorite/familiar songs “Let Me Entertain You”, “Wherever We Go, and “Some People”, was quick and bright.
If you have never seen “Gypsy” or you have seen “Gypsy” in the past that made you roll your eyes or put you to sleep; I think this production at the Drury Lane Theater in Oak Brook Terrace will delight you. I had a great time and in the end made me smile wildly like I was seeing the show for the very first time.
“Gypsy” plays through 1 April 2012. For tickets call 630-530-0111 or visit www.durylaneoakbrook.com
Steep’s ‘Love and Money’ confronts the big ideas honestly
By Devlyn Camp
“I am a photosynthesist of cash,” states the boss in somewhat of a metaphor, comparing her work to the scientific process that creates energy for plants. Her employee, whose story is told in seven reverse-ordered vignettes, struggles to survive a marriage that aches for a piece of that cash flow. From exposing the twisted demise of his wife in the opening scene, the play takes steps backward in time to reveal the relationship’s deconstruction.
Each scene creates the setting and story based in delightfully awkward British humor. Much like Jennifer Egan’s novel A Visit From the Goon Squad, each character, from the boss to the husband to the wife’s babbling parents (played by quick and funny Jason Michael Linder and Molly Reynolds), shows a piece of the story from their perspective and admits their financial struggles. Those issues subtextually, and sometimes straightforwardly, disclose the problems circulating through their love lives. Scenes play out in Director Robin Witt’s clever blocking, and occasionally lack thereof, which is also smart. Many monologues – and even dialogues – are played standing stationary and out to the audience, leaving a viewer to focus on the wit and point of the words. Playwright Dennis Kelly’s words flesh out morals on top of morals: fixing one’s mistakes, dealing with karma, ethical methods of earning money, et cetera.
While many of the scenes start off funny and almost cute, they all progress to serious matters that anyone who’s ever paid a bill can relate to. The script and actors are genuine and entertaining, obviously understanding the kind of job where little money is made from a lot of passion. While the theme stands on a Sondheim-esque “life sucks” sort of policy, there are honest moments when one can truly believe money can’t hurt them anymore.
The play is obviously about love and money, but moreover, their byproducts. When discussed in a final, absolutely astonishing and candid monologue performed by Julia Siple, everything in life comes down to a person’s choice of valuing flesh and blood or finance. Depending on your own criticism and perspective, Steep allows you to make the choice.
LOVE AND MONEY
Steep Theatre Co.
Through February 25th
Tickets $20-22, available at steeptheatre.com
Molly Reynolds, Jason Michael Linder; photo courtesy Lee Miller
Contact critic at devlynmc@yahoo.com
The Laughter Will Make You MEGAthink.
From the moment we enter the theater space at A Red Orchid Theatre, we begin to notice a world that could be from our future or maybe it is somewhere vaguely familiar? It turns out for this world premiere of “MEGACOSM” it is both.
The two principal actors have already been on the stage, even before the house lights are dimmed; both already creating a sense of tension and unease for the audience. With a quaking explosion and flickering monitors, the story begins in a world of unrest and suspicion.
Chris, played by impressively skilled Larry Grimm, is here for an appointment. He is here at this office to meet with Britt, played amazingly by Danny McCarthy. How did he get in to see him? Who sent him? What does he have to show Britt that would warrant such a meeting in these hours of unrest? These questions are all answered with great surprise and twists that no one can see coming.
We find out that this is just a small room of a manufacturing company that is at a point of immediate unrest. With explosions, power surges, and a rioting faction of “childlike” workers, the actors create a wonderful sense of urgency and danger.
Oh, and did I mention this is a comedy?
Mr. Grimm’s portrayal of “Chris” is subtle, and always at just the right amount of pathos for this unwitting victim of wrong place, wrong time, right idea. As his up-up- up tight interviewer, ”Britt”, Mr. McCarthy’s immersion into a paranoid self-saving frenzy is delightful. Both actors’ comedic timing and delivery of confusing complex repartee is nothing short of thrilling. They are fun to watch and they make the audience confident as they pull them on this journey as they both grasp for the biggest straw.
As the story unfolds, we are introduced to two other characters during the mayhem that is “MEGACOSM”. “Sam” (David Steiger) is a long time worker the company with some special identity issues. Maybe he has been at the company too long? He is Britt’s minion, and not the perfect work relationship. I will leave it at that. Mr. Steiger’s portrayal of a broken man who keeps you guessing is excellent. “Carol” is played by 9 year old Eden Strong. Ms. Strong’s character is a little less than happy about her working conditions at the factory. She takes on some of the more uncomfortable moments with great ease and strength.
Written by Brett Neveu, the quick dialogue and the layer by layer revelations of the characters makes for some excellent theater. I can imagine what fun he had writing some of the more surprising moments in the show. It is at times laugh out loud comedy, but making you think about the horror of how these characters got here in the first place.
With Dado’s direction at the helm, the show moves quickly and there is never a dull moment. A deceptively complex piece with the movement on stage, the tech and sound aspects, and creating a sense of suspenseful excitement is a tall order. All have been accomplished with Dado’s creative eye.
Not mentioning the scenic, light, sound, and media designs would be truly amiss. These elements were so important to the feel of the play and moving the story forward. And without giving anything away, provided another venue for a whole new characters to unfold.
MEGACOSM is a not only a story of about a company that is not so far off the beam in today’s society; but of characters we are afraid we could become given the same set of company circumstances. Go see MEGACOSM and enjoy the laughs, but the food for thought will stay with you for a while.
MEGACOSM runs at A Red Orchid Theatre, 1531 N Wells Ave. through 26 Feb. 2012. Box office 312-943-8722 or online at www.aredorchidtheatre.org
Well-played game at Lookingglass, ‘Mr. Rickey Calls a Meeting’
By Devlyn Camp
In an effort to do some good, Branch Rickey began to take the necessary steps to integrate Major League Baseball in the early 1940s by creating a plan to sign Jackie Robinson to the Brooklyn Dodgers. Through the newest Lookingglass production Mr. Rickey Calls A Meeting, a fictional encounter of entertainment and baseball legends is played out. Legends attending in Ed Schmidt’s story include boxer Joe Louis, tap dancing king Bill “Bojangles” Robinson, actor and suspected communist supporter Paul Robeson, and of course Jackie Robinson (who, to the baseball illiterate, was the first black player admitted to the Major League since the 1880s). Also in and out of the meeting, to our comic relief, is Clancy the young bellhop and baseball fan.
In an engaging conversation, Rickey (Larry Neumann, Jr.) explains his plan to the gentlemen in order to create a unanimous agreement to support integrating the league. For Bojangles, this means risking his partial ownership of a Negro National League team. Robeson spends the act trying to understand Rickey’s hidden motivations, while Louis seems to be supportive either way. As the gentlemen argue, Clancy (Kevin Douglas) runs errands for Mr. Rickey, all the while persistently trying to snag autographs from his heroes. Douglas is quick-witted with great timing to match Bojangles actor Ernest Perry, who is purely delightful in his character.
On a half-diamond hotel room set lined by the powder of a baseline, Rickey breaks down the plan of a quiet revolutionless integration. Faithful to the facts, he asks Robinson to actually not fight the forthcoming disagreements, but to have “guts enough not to fight back.” As in many stories of integration, the plan must be executed with the right amount of theatrics in order to save face. It becomes clear that Rickey’s plan is not just altruistic, but self-serving, as black fans of the Yankees will move over to the Dodgers, as well as fans from the Negro National League. Through Clancy’s innocent eyes, as it wasn’t evident before, his heroes have their own demons. Bojangles is a gambler, Louis has anger issues, and Robeson, well, the communist issue comes up often, naturally. The conversation turns out the pros and cons of showmanship and reputation versus making radical change for the better. Money’s worth seems to hold more power than moral worth. As we can see by looking at MLB today, everything turned out to be copacetic.
MR RICKEY CALLS A MEETING
Lookingglass Theatre
Through February 19th, 2012
Tickets $20-$68, available at lookingglasstheatre.org
Kevin Douglas, James Vincent Meredith, Javon Johnson (left to right), photo courtesy Sean Williams
Contact critic at devlynmc@yahoo.com
Blending Old Blue Eyes and Back Flips
By Lazlo Collins
With the first notes of the show sending an instant nostalgic swoon through the audience, “Come Fly Away” was off and dancing with signature Sinatra songs.
This dance and music piece ran on Broadway from March through Sept. in 2011. It was conceived, choreographed, and directed by Twyla Tharp. The one Tony, two Emmy, Kennedy Center Honored Ms.
Tharp is no stranger to the dance/musical genre. In her 2002 “Movin’ Out” dance adventure, she used Billy Joel as her muse.
This time around, Frank Sinatra sings his classics, while the dancers tell the story of four couples who fall in and out of love at a swanky nightclub.
With the opening number of “Stardust” finding us with the first of our star crossed lovers, the black scrim rises to reveal a 13 piece band. The band plays just in back, and upstage of the dancing space. A shiny bar, sleek staircase, and a few well-placed tables complete the nightclub scene. Amid the sparkle curtain background, the musicians are always on the stage moving our dancers to their next tableau.
I have to say that many times during the show; I kept looking for the singer himself. Of course, I know Frank Sinatra has been gone from popular society in physical form for a while, but you wouldn’t know it from the head bobbing and sighs from the audience whenever a familiar tune began to play. Some of the hits to be heard included: “Fly Me to the Moon”, “That’s Life”, “One for My Baby”, and “My Way”.
With digital Frank crooning and the band firmly in place, the dancers were ready to “face the music and dance.” The principle dances in order of appearance were, Mallauri Esquibel, Ron Todorowski, John Selya, Ashley Blair Fitzgerald, Marielys Molina, Anthony Burrell, Matthew Stockwell Dibble and Meredith Miles. Each dancing couple projected the story of flirtation, romance, sex and love lost with a physical intensity that made you sit up and take notice. I enjoyed the diversity of dancing approaches from each couple. The Twyla Tharp style is unmistakable; with its athletic leaps and arm contortions. Her choreography can be so bold and physical. Some of the lifts, with their twists and turns, look like complex puzzles between to lovers. The ensemble dancers are equal in there expert execution of the peripheral characters, providing the audience some of the more synchronized choreography.
The lighting and sound are two, well planned and executed elements that are extremely important to the show and do not disappoint. The mood lighting is superb during the more intimate dances. I know the stars aligning to present Mr. Sinatra’s image at the “New York, New York” finale is corny, but I loved it. I think the audience did too. It connected the image of the man back to the voice.
“Come Fly Away” is a beautiful tribute to the Sinatra songs you love, with breathtaking dancing. The pre-show check list should have you interested in the love of modern dance OR the music of Frank Sinatra; but not necessarily both. The show is 80 minutes long with no intermission. The length of time is perfect for enjoying the show without longing for a more comfortable seat, or the urge to change the music on your iPod.
‘In the Heights’ tour features big talent and big voices
By Devlyn Camp
Not so far away from the tunes tapped on Broadway, the Washington Heights barrio features it’s own melody. It took years of effort, but finally, the 2008 musical In the Heights breathed Broadway life into the Latin and hip hop scores of the streets, going on to win the Tony Award for Best Musical and, of course, hit the road. In this production, now at the Ford Oriental Theatre, a new cast introduces Lin-Manuel Miranda’s (Music, Lyrics) original story.
Usnavi (Perry Young, in Miranda’s original role) tells the barrio’s story, although the acting is sometimes flat and awkward. He finds a quirky spot in Vanessa’s (Presilah Nuñez) heart though, and one can’t help but root for him. That every-leggy Nuñez is glamorous, powerful, and knows how to drop jaws with a silky solo number. In Vanessa’s effort to find a new home, she falls for Usnavi, who wants to leave his home, too, and head for his home country, the Dominican Republic. The cast also features strong voices in nearly every performer, among a dash of less-than-decent acting. Nina’s (Virginia Cavaliere) milky high notes in her song “Breathe” are even more appreciated when put next to her dull character. It’s difficult to put your finger on it, what’s wrong with the performer. Bad acting is just something one knows when they see it. When an audience member remembers that they’re in an audience watching a play, the dream broken, that’s probably when they’re watching something not click onstage.
Although among the lows, the production has many highs. Sonny (Robert Ramirez), Usnavi’s little cousin, is so smug and adorable. He is the comic relief of most scenes and leads the show’s funny bone along with the gossipy salon women. When the full cast finally comes together in the song “96,000,” there a vocal strength that outshines any flaw one caught earlier in the production. The sound is precise, the lights follow suit, and choreography is so wild it’s difficult to process in words. When the number is over, the audience has to catch their breath too.
Each song and scene is decorated with citizens walking around the barrio in contemporary choreography. The walking movement is altered to match a hip hop sound underscore. (The music, by the way, is a pretty impressive work by Miranda.) As each character focuses on how to find their way home, Abuela Claudia (Christina Aranda) happens to find her success very late in life. The younger generation, who were brought to this town by Claudia’s generation, seeks to leave to find new territory, not recognizing the past’s sacrifice. In a twist for the better, a sense community is recognized and the friends-are-family theme is utilized. While seeming commonplace here in the written text, onstage it is quite a beautiful layout. This street intersection (a gorgeous forced perspective set design by Anna Louizos) is where the insanely talented common people call home. Their everyday problems are supported by the friends on this block, and, as the smart lyric directly states, “When you have a problem, you come home.”
IN THE HEIGHTS
Broadway in Chicago
Through January 15, 2012
Tickets $25-$75, available at BroadwayInChicago.com
Photo courtesy John Daughtry
Contact critic at devlynmc@yahoo.com
Ironmistress at Oracle: sensitive, smart, tough as nails.
By Devlyn Camp
In a time when the phrase “public access” usually triggers thoughts of basic local television programming or free, below mediocre anything, it should be known – if you haven’t heard already – that Oracle Production’s “Public Access Theater” evokes a much different connotation. Their means free seats – and here’s the part where the critic comes in – to great theater.
Opening this weekend, Ironmistress presents a dreamlike relationship between nineteenth century mother Martha (Katherine Keberlein) and daughter Little Cog (Sarah Goeden) who inherit the husband’s iron factory. As Martha tries her hand at preparing her daughter for impending adulthood, she becomes wrapped up in the series of stories Little Cog recalls from their past.
In the days prior to public broadcastings, when parent and child would sit in their home telling stories, Little Cog recites tales in unison with her mother, enjoying them as the first time she heard them. Goeden is playful and childlike, diving headfirst into her stories’ worlds. Reluctant to relive the past, Martha stands stoic, until she is pulled in by her daughter’s charm. Keberlein is quick-witted and commanding. Her proud jawline and sovereign ruling over the stage from inside her leather bound skin are simultaneously startling and magnetic.
Surrounding and emphasizing the bold women are skillfully simple and smart lighting designs among the tense, mechanic sounds of an iron foundry. The spooked setting and scenic design leave the practically onstage audience wrapped inside the same dream with the disarrayed family.
Playwright April De Angelis’s dark-humored and sharp drama twists around the mother-daughter storytelling that reveals Victorian England’s commonplace expectations of women. Martha seeks to train her daughter for proper behavior, Cog seeks to imagine, play and grow on her own accord. In a 75-minute one-act, there is no easy way to take sides of two wonderfully acted characters who both strive for well-being. Martha, who follows the philosophy of making one’s self iron over emotions, only wants to tie down the freethinking Cog for protection from her thoughts for building, evolving, and flying away.
Sometimes it seems intelligent black box theatre is sparse. A show is too heavy handed and dark, a show contrives too many jokes, a show just isn’t pieced together properly. Ironmistress is none of the above, and is wholly beautiful and smart with the right dash of dark humor.
IRONMISTRESS
Oracle Productions
Through February 11, 2012
Tickets are free and available by reservation at
Sarah Goeden and Katherine Keberlein, photo courtesy Ben Fuchsen.
Contact critic at devlynmc@yahoo.com
It's Not All a Drag
By Lazlo Collins
The reception outside the theater from the eight foot drag queen when I arrived was a great surprising touch to what was a would be a night of many illusions.
She continued to banter with the audience from onstage, warming up the crowd for “La Cage Aux Folles”. This romp of mistaken identity, glitz, glamor, and what families do for families, was about to start.
I had seen “La Cage Aux Folles”, with memorable music by Jerry Herman and snappy book by Harvey Fierstein, in its second Broadway revival a few years ago.
This time around the pared down production has fewer “Le Cagelles” and a more focused satisfying set by Tim Shortall.
As the lights came up and George Hamilton (Georges) began to speak, I knew it may not be the smoothest go round with him at the helm. To be fair, Mr. Hamilton has been in show business for over 50 years. He is well loved for his film work and debonair persona in many of his artistic endeavors. The audience recognized him immediately when he came out on stage. All that said, his performance as Georges was a bit uncomfortable. His mechanical line delivery as well as his singing was no match for the rest of this high energy musical. There were actually times I felt for his safety as he twirled about the stage. He is a gentleman of certain age, and his tan and persona are going strong, but just not in this musical. Even towards the end of the evening you could feel his energy waning as well as the audience’s patience. I realize that star recognition sells tickets, and perhaps there is a whole generation that may have not seen the show if he was not in it. But alas, sometimes the work needs to be a bit better than passable.
In sharp contrast to Mr. Hamilton’s unsure performance, Christopher Sieber as Albin was outstanding. He made the character his own. Mr. Seiber’s enchanting parry with audience was nothing short of thrilling. Even the act one closing number “I Am What I Am”, which can sometimes fall into anthem schmaltz, drew the audience right in the palm of his hand. This was a feat of a well-seasoned Broadway performer. His experience on the stage and with a Tony to his name is no surprise. I give him huge credit infusing the scenes with Mr. Hamilton with energy and delight.
Gay fathers (Georges and Albin) who run the female impersonation nightclub “La Cage Aux Folles”, need to make some changes to suit the son’s (Billy Harrigan Tighe) upcoming nuptials. A visit by the conservative fiancés parents (lovely dual cast Bruce Winant and Cathy Newman) turns their beliefs and decorating choices into question. The question of what makes a family, and what do they believe about themselves and others are a central theme.
The ensemble that makes the nightclubs entertaining core, “Les Cagelles”, were all spot on with their dancing, and wise cracking antics to keep the audience entertained throughout the show. They were fresh and fun and gave the show its bounce.
With energy to spare, Gay Marshall as Jacqueline, keeps us on our toes and sends the plot to its conclusion during the always rousing “The Best of Times”. She made me want to sing out loud.
Even with the last slow reveal of everyone in drag, (although I am a bit tired of many musicals these days ending with the audience clapping mega-mix), the show was overall fun to watch. The cast knows there marks and is ready to entertain. Perhaps it will get better with age, or a few B-12 shots.
“La Cage Aux Folles” runs through 1 Jan 2012 at the Bank of America Theatre
RECOMMENDED SITES
