A Festive Night to Remember

A Christmas Carol

This year’s production of Chicago’s favorite holiday classic, Charles Dickens’ “A Christmas Carol,” is marked by several remarkable reasons to celebrate. First, unbelievably this marks the Goodman’s 45th annual production of the Theatre’s most popular show. Second, at a splashy pre-show reception opening night, Susan V. Booth was welcomed officially as the Theatre’s new, dynamic artistic director. She’s the Goodman’s well-deserved first female to helm this position, taking over the job held for 35 years by the visionary Robert Falls.

No Man is a Failure Who Has Friends

It’s a Wonderful Life: Live in Chicago!

It’s hard to believe that this is American Blues Theater’s 21st annual production of Frank Capra’s beloved Christmas classic. The black and white film has endured since 1946 as one of the world’s favorite holiday stories. The Theater Company has presented its radio productions all over Chicago, from the Lakeview neighborhood to Lincoln Park, and now in Wicker Park. Hopefully (knock on wood), after so many seasons of itinerant presentations, next year will see this glorious, heartwarming story presented in American Blues’ own space.  

Going Backward Instead of Forwards 

Title X

Created back in 1970, Title X (Ten) was developed to provide women with three options they could choose from, regarding their own bodies and their personal health. If a woman found that she was pregnant, she could seek referrals for adoption services for her unborn child; she could make a decision for prenatal care services; or she could seek referral for an abortion.

Finding the Perfect Man

Mosque4Mosque

Playwright Omar Abbas Salem’s story is a tale about home. It’s about three generations of an immigrant Syrian, living in the Chicago suburbs, each filled with angst and personal drama. Their collective story is filled with a lot of very funny adult humor, as well. Ibrahim is the central character of this two-act comedy/drama, now enjoying its World Premiere at the Den Theatre, in their intimate Bookspan venue. Salem’s play is about relationships and making mature, well-thought choices in life…and the consequences for giving in to witless, self-centered decisions that affect more than one individual.

A Feast for the Eye and Ear

The Sound of Music

Like me, over the past ten years ardent theatergoers in Chicagoland have undoubtedly experienced at least one or more production of this, Rodgers & Hammerstein’s beloved musical. It seems like we’ve recently been over-saturated by this show. It’s understandable, because the musical is a popular, heartwarming, captivating and tuneful story that’s perfect family entertainment, especially around the holidays. The play also carries a deeply moving, heartfelt message. But I’m here to tell you that even if you’ve seen this musical a dozen times in the past, you have never experienced the grandeur, power and majesty of this story in the way that Paramount Theatre is currently presenting it.

Christmas Craziness

It Runs in the Family

A big thank you to Citadel Theatre for sharing this sparkling gift of Christmas craziness with Chicagoland audiences, just in time for the upcoming holidays. Ray Cooney, one of England’s most clever and prolific playwrights, is known for his hilarious comedies and over-the-top farces. Each of his 24 plays is so tightly and intricately tangled that, once his plots are set into motion, all of the erratic events take on lives of their own. The stories breathlessly race nonstop to a satisfying conclusion that somehow tie up all the loose ends. 

For avid connoisseurs of comedy, Ray Cooney has given the theatre world a cornucopia of highly entertaining titles. His wacky, almost preposterous farces began in 1962 with “Who Were You With Last Night?” and continue into the 21st century with “Twice in a Lifetime.” So many familiar titles appear among his huge repertoire of works, such as “Move Over Mrs. Markham,” “Not Now Darling,” “Run For Your Wife” and “Funny Money.” And this clever writer’s works all follow a similar formula. He combines classic English risque’ and ribald situations with characters who constantly jump to conclusions. Many are eccentric, often dress in disguises, and pretend to be someone they’re not. Lies and bizarre stories are related to cover up an unpleasant truth, but eventually honesty prevails and the facts are revealed.

The intricate plot of “It Runs in the Family” centers around a series of revelations and newly related secrets that emerge in the doctor’s lounge of London’s St. Andrews Hospital. It’s three days before Christmas and noted neurologist, Dr. David Mortimore, is nervously trying to memorize his speech, hoping that he’ll inspire a generous monetary donation for purchase of some much-needed medical equipment. David is also trying to impress his supervisor, Sir Willoughby Drake and, perhaps, achieve knighthood in the process.

At the same time, the staff, headed by enthusiastic, but somewhat eccentric, Doctors Mike Connolly and Hubert Bonney, are rehearsing their annual Holiday Pantomime, which will entertain both the patients and staff. Gifts for the children have been delivered and Matron is in charge of keeping them a surprise until later. The Doctors’ Common Room is abuzz with activity, with people coming and going and deadlines having to be met. 

What sets off the next two hours of madness and mayhem is when Dr. Mortimore’s former nurse, Jane Tate, shows up with some shocking news. It seems that back in their younger days, David and Jane used to fool around in the Sluice Room of the hospital. The result was that Nurse Tate had to abandon her career and leave London to give birth to and raise her son by herself. Today is her son, Leslie’s, 18th birthday. The punky young man is bound and determined to meet his real father, whom he’s learned is a doctor at this hospital. Along the way, Leslie has encountered some minor trouble with the law and the Police Sergeant is hot on his trail. Add into this mix of hilarious characters Rosemary Mortimore, David’s patient, but befuddled wife; Sister, hoping to give aid and care to all her patients; and Bill, a feisty older patient who keeps turning up and being wheeled away in his chair to other locales.

Directed at breakneck speed, a nonstop tempo that’s the earmark of any good farce, Pat Murphy returns to Citadel Theatre to do what he does best. Once again he’s guided his excellent, likable and multitalented cast of eleven skilled actors to bring Ray Cooney’s bizarre world of craziness to a fitting climax. The box set, nicely designed by Eric Luchen, beautifully transforms the intimate Citadel stage into the large Common Room at St. Andrews Hospital. The scenic design provides everything required of a 1980’s farce: lots of doors for quick entrances and exits, many that swing both ways (much like a couple of the characters); a large, draped window, that opens and closes, with a huge, practical window seat below; a small desk, a few chairs, a well-stocked bar, and plenty of room for all the running around that will take place.

Tim Walsh is superb as Dr. David Mortimore. The actor is sharp, clever and a master of all the convoluted dialogue, delivered quickly and with clarity. He also fully understands the physical demands of playing farce, and Mr. Walsh is clearly up to the challenge. He’s hilarious as he attempts to keep all the balls in the air, trying to balance the many lies, disguises and half-truths he’s forced to generate. He’s matched, scene-for-scene, by David Whitlock’s brilliant, often bewildered Dr. Hubert Bonney. And Philip J. Macaluso is a raging stitch as Dr. Mike Connolly, a doctor who seems to find great joy in his crossdressing Pantomime roles. One of the highlights of this production is a scene in which all three doctors are dressed as Matron (a fantastic bulldozer of a woman, played with an iron will by Debra Rodkin). The three men remind the audience of the gut-busting drag performances of Monty Python’s Flying Circus.

Aimee Kleiman, as Jane Tate, is both an attractive woman completely in charge and an unwitting victim of a man’s world. Every so often a moment of empathy creeps into Cooney’s plays, and with former Nurse Tate the audience sometimes feels for her situation as an unmarried mother trying to make things right again. The same might be said of her confused teenage son, Leslie, alternately portrayed with rage and affection by Declan Poll. Particularly as costumed and coiffed by Elizabeth Monti, the young actor is totally believable as a punk rock fan from the 80’s. Chris Bruzzini is in total command, except when he’s not, as the Police Sergeant. In many ways, Bruzzini’s character, with his attempt to fully comprehend what’s going on, represents the audience, if we had been thrust into this wacky world of weirdness.

The always professional and polished Ed Kuffert makes a staunch authority figure as Sir Willoughby Drake, the head of the hospital. Ellen Phelps nicely creates another humorous victim of deception as Dr. Mortimore’s confused, but accommodating wife, Rosemary. Nancy Greco gets to really stretch her creative muscles, playing both Sister and Dr. Bonney’s kindly, sophisticated Mother. And talented character actor Ray Andrecheck is a laugh riot as Bill, the scrappy, spirited elderly patient who keeps reappearing in his wheelchair to create even more chaos and pandemonium to the ever-evolving situation.

Citadel’s latest offering is a real holiday treat and a must-see production, as directed by the brilliant Pat Murphy. His gifted cast truly understands farce and knows how to get the most laughs from their finely controlled performances. And, a credit to everyone on that stage, the company work well together—not as a collection of individuals trying to make the show their own personal comedy routines. Everyone is a team player and the result is a much-welcome cache of adult Christmas craziness.        

Highly Recommended

Reviewed by Colin Douglas

Presented November 16-December 18 by Citadel Theatre Company, 300 S. Waukegan Rd., Lake Forest, IL.

Tickets are available in person at the box office, by calling 847-735-8554, x1, or by going to www.citadeltheatre.org.

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

The Circle of Life

The Lion King

In one of the most moving opening numbers of any musical, the mandrill Rafiki calls out to every African animal, summoning them to Pride Rock for the presentation of King Mufasa and Queen Sarabi’s newborn cub, Simba. From the wings, down the aisles and across the balconies come rhinos, giraffes, an elephant and her baby, a preening leopard, a herd of graceful gazelles and flocks of every species of flying birds to join “The Circle of Life.” It’s a beautiful, breathtaking, incomparable moment in live theatre that’s guaranteed to produce goosebumps and bring tears to your eyes. There’s really never been anything like it in theatre history, before or since.   

SPARKLE JOLLYTWINKLEJINGLEY

Elf—the Musical

Of the multitude of holiday movies released during the past several years, one of the best-loved of all is the contemporary New Line Cinema film, “Elf.” This heartwarming Christmas comedy classic starred the inimitable Will Ferrell in the title role, with many critics calling it one of his best performances. While this story may not have the emotional impact of movies like “It’s a Wonderful Life” or the unswerving life lessons of “A Christmas Carol,” it overflows with heart and humor. 

Make Your Own Kind of Music

Beehive: The 60’s Musical

“Round the Beehive/Let’s Rock!” opens this infectious musical revue that features the hit songs of the 60’s. And the six extraordinary young women who bring this show to life at the Milwaukee Rep really mean it. They absolutely rock. After the previous decade that gave birth to rock and roll, the genre continued to evolve and reinvent itself in the years that followed. But what made rocking around the clock in the swinging 60’s even more exciting was the sudden rise of all those phenomenal female soloists and a bevy of gifted Girl Groups. All the artists in this revue get to showcase their considerable musical and choreographic talents, providing powerhouse vocals, close harmonies, spirited interpretations and bouncy beats in their performances.