People Come, People Go

Grand Hotel, The Musical – Kokandy Productions

 

In their relatively short, eight-year history, Kokandy Productions has presented a number of seldom-seen cult plays and musicals, all artistically produced in their storefront home at Theater Wit. The shows have included Kokandy’s Jeff Award-winning productions of “Sweet Smell of Success” and “Heathers.” Their 2017-18 season concludes with the 1989 Tony Award winner, “Grand Hotel.” This show, which may only be familiar to a handful of musical theatre aficionados, had a respectably long Broadway run. The journey that eventually brought this story to the musical stage is a bit complicated.

In 1929 popular Austrian author Vicki Baum wrote a novel entitled People in a Hotel, which she later adapted into a crowd-pleasing play. Three years later Baum’s book was transformed into the Academy Award-winning film classic, retitled “Grand Hotel.” It starred such luminaries of that time as Greta Garbo, John and Lionel Barrymore, Wallace Berry and Joan Crawford. Then, in 1958, Luther Davis adapted Baum’s play into a musical, changing the title to “At the Grand,” with a score co-written by Robert Wright and George Forrest. They switched the setting from 1928 Berlin to contemporary Rome. Many of the characters and storylines were changed; but, for a number of reasons, that version of the musical eventually cancelled its Broadway opening. Finally, a full thirty years later, Davis, Wright and Forrest revisited their script, returning their show to its origins, with added music and lyrics by Maury Yeston. Director/choreographer Tommy Tune also brought in playwright Peter Stone to fine-tune the piece. The musical became a success, running for almost three years and nominated for 12 Tony Awards, winning five.

In spite of all its artistic achievements in 1990, the show isn’t well-known today. That’s a shame because it says so much about people from all walks of life who have dreams and needs that seem out of reach. But this company has done a masterful job of reviving this sometimes joyful, often melancholy, musical, focusing on its dark, dramatic contrasts.

The show is directed with style and feeling by John D. Glover. It’s gorgeously musical directed by Aaron Benham who, along with Elena Spiegel and Tony Scandora, provide onstage accompaniment on piano, violin and percussion, and the production is meticulously choreographed by talented Brenda Didier. Staged upon Jeffrey D. Kmiec’s sumptuous, two-level grand hotel lobby, lit with atmosphere and attitude by Alexander Ridgers, the production sparkles with the perfection of a bygone era. Much of this beauty can also be attributed to the lush, spangled-and-fringed splendor of John Nasca’s jaw-dropping wardrobe of 1920’s costumes, designed with incomparable detail, and highlighted by hair and wigs created by Keith Ryan.

Mr. Glover’s cast is uniformly masterful. Each actor/singer/dancer shares equally in the storytelling of a weekend at the posh Grand Hotel in 1928 Berlin. Jerry Miller sets the tone for this dark musical as the cynical Colonel Doctor Otternschlag, a permanent resident of the hostelry. He’s a former army officer, who had been severely wounded during WWI. He sits alone in his chair, occasionally shooting up with morphine, and observing the people that forever come and people go. As they pass through the opulent lobby of the plush Grand Hotel, the Doctor notes that nothing ever really happens. His comment turns to irony as the musical unfolds.

Played with class, style and an air of smoldering mystery, beautiful Michelle Jasso brings her considerable talents to the role that made Greta Garbo a legend on the silver screen. Elizaveta Grushinskaya, a famous ballet dancer, whose long career is on the wane, is riddled with pain and financial woes. She’s reluctant to honor her contract to perform in Berlin, but her entourage, which includes her disapproving, but devoted  Italian Secretary and confidante, Raffaela (splendidly played by Liz Norton), knows that Madame Grushinskaya must perform, if only to pay her creditors.

The young, handsomely suave Baron Felix Von Gaigern, who often frequents the Grand Hotel, is also being pursued by those to whom he owes money. During the weekend he accidentally meets Madame Grushinskaya, after breaking into her room to steal her necklace. Played with disarming charisma and a gloriously trained tenor voice, Erik Dohner convinces the aging ballerina that he’s fallen in love with her. The Baron also meets an aspiring young film actress, who’s checked into the hotel in the hopes of striking it rich, either as a secretary or a call girl. She suddenly decides to change her name from Frieda Flamm to the sultry, one-word moniker, Flaemmchen. Being down on her luck, she thinks that the handsome Baron might be just the romantic and financial ticket she needs. Flaemmchen is beautifully portrayed with spunk, heart and candor by one of Chicago’s newest young theatrical treasures, the lovely Leryn Turlington.

In addition, a mortally ill Jewish accountant named Otto Kringelein, infused with energy and charm by Jonathan Schwart, has decided to spend his final days in the luxury of the majestic Grand Hotel. When the Baron meets Otto, he learns that the dying man has brought his life savings with him to the hotel. He convinces the nebbish bookkeeper to invest in the stock market, whereupon Kringelein makes a fortune overnight. The Baron, still desperate for money, attempts to steal from his new friend, but his conscience overrides his decision. Another hotel guest is a businessman who’s career is on the edge. The CEO of a textile mill, Hermann Preysing is played with fervor and finesse by stellar actor, Jeremy Trager. Married with children, Preysing is fiercely in need of a certain business merger that’s scheduled to take place in Boston. In his frenzy and loneliness, Preysing enlists Flaemmchen’s services as his personal secretary and temporary mistress. Trager’s performance is, as always, mesmerizing and brutally honest.

John Glover’s cast boasts an entire company of talented singers and dancers. Handsome Parker Guidry is heartbreaking as Erik, an overworked bellhop, whose young wife is in labor with their first child. Daniel Hurst and Hannah Rose Nardone are both excellent in multiple roles, the flashiest being Bolero Dancers, the Gigolo and the Countess, who infuse each of their scenes with raw sexuality. Darren Patin and Travis Austin Wright are infectiously joyful as the two Jimmys, talented hoofers who bring a joie de vivre to every appearance. And Pavi Proczko is a frighteningly forceful gangster who’s posing as a Chauffeur.

Kokandy Productions has yet another breathtaking hit on its hands. John Glover’s storefront production of a forgotten classic is spectacularly performed, gorgeously staged and technically perfect. In two-hours that pass all too quickly, this exquisite musical reminds us that, as the Doctor muses, “It’s always the same. As one life ends another begins; as one heart breaks another beats faster; and as one man goes to jail as another man goes to Paris.” How true.

Highly Recommended

Reviewed by Colin Douglas

 

Presented April 15-May 27 by Kokandy Productions at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available at the box office, by calling 773-975-8150 or by going to www.kokandyproductions.com/grand-hotel/

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.