An Absolute Adult Delight

Poor People! The Parody Musical

Do I have a treat for you, especially if you’re an adult, liberal-minded Musical Theatre aficionado! Hell in a Handbag Productions, David Cerda’s wildly creative theatre company, is currently continuing its 22nd season. The company’s comprised of an ensemble of multitalented artists who are always challenging audiences and pushing the envelope. Well, consider the envelope pushed to the max. Often the company lampoons their favorite vintage films, classic television shows and even popular cult genres. But this sassy, salty new production parodies many of Broadway’s most treasured, time-honored musicals. Seemingly motivated by television’s “Schmigadoon!” HIAH’s tuneful satire is, quite simply, an absolute adult delight, and theatergoers will never look at these prototypical Broadway musicals the same.

The show’s written by a longtime Ensemble member, talented Tyler Anthony Smith who, like David Cerda, can do it all. They’ve developed the well-constructed plot, written the libretto, created hilarious new names for the familiar theatrical characters, selected the show tunes to be included and reimagined the new lyrics. Smith even plays one of the leading characters! Apparently this Renaissance Man never needs to eat or sleep! Tyler Anthony Smith, who has several original shows and performances to his credit, plays Nance (who, in her recognizable ragged red dress, is an obvious parody of Nancy, OLIVER’s whore with a heart of gold). They perform with all the attitude and spunk that the late British belter Georgia Brown originally brought to the role. Tyler absolutely brings down the house with their performance. Brava!

Not to spoil the multitude of sensational surprises that Smith has packed in their show, suffice it to say simply that the musical parody is a time travel story. It begins in NYC during the Great Depression, transports the leading character (Li’l Orphan Arnie) back to Paris during the early 19th century, and then plops a wealthy, ultra conservative Republican from 2024 into the plot. Named Mama Moneybags, she joins Miss A, a parody of ANNIE’s Miss Hannigan, and The Groomer of the Flop’ra, PHANTOM’s masked antihero. These three blackguards become the show’s triumvirate of evil villains. And, of course, at every turn a familiar song erupts and the plot thickens.

This cast is phenomenally gifted. The individual and collective vocal talents of this 12-member cast represents some of the finest non-union actors in Chicago. The cast is led by a flawless and commanding performance by Jeff award-winner, Dakota Hughes, as Li’l Orphan Artie. In their gender-free satire of the likable, curly redheaded Annie, Hughes belts out songs (even, comically, for other characters) and takes the stage with their superb acting, comic timing and dance skills. I’d say, dust off that shelf, Dakota, because another award is waiting in the wings.

Artistic Director David Cerda is very funny as Fagin, sweeping around the stage in big hair and a colorful silk dressing gown, creating an air of mystery in the play. Brittney Brown, the wicked Sydney Genco and the hilarious Shane Roberie chew up the scenery as the show’s villains. The always magnificent Caitlin Jackson is outstanding as LES MIZ’s tragic heroine, Fantine. And just when you think she’s surpassed your expectations, Ms. Jackson (the Jeff Award-winning actress for her recent portrayal of Mrs. Lovett in SWEENEY TODD) returns to the stage to play one of the breakout stars of CATS. 

Other great performances are provided by a lithe and lascivious-acting Matty Bettencourt, as Fosse Kitty, as a member of CATS; the agile and accomplished Patrick O’Keefe, as Twinky (patterned after both Bert, from MARY POPPINS and OLIVER’s Artful Dodger); handsome actor/singer Tommy Thurston, playing the selfish Pretty Rich Boy (who reminds us of Raul from PHANTOM OF THE OPERA); the peerless Elizabeth Lesinski, as a combination of the Beggar Woman, from SWEENEY TODD, and the Bird Woman from MARY POPPINS; and the wonderful, winning actor/singer/dancer, Taylor Dalton, provides lots of laughs in a brilliant parody of Eponine, from LES MISERABLES.

There’s a fantastic abundance of creativity and technical support for this show, supplied by a company of brilliant backstage theatre artists. The production is passionately directed by Stephanie Shaw, superbly musical directed by talented Andrew Milliken and Christopher Kelley’s choreography is not only simply sensational, but it’s effervescently executed by this unbelievable cast of triple threats. 

Another of Chicago’s talented Renaissance Men, the ubiquitous G. “Max” Maxin IV is the show’s accomplished scenic, lighting and projection designer. Maggie O’Brien has challenged herself with some unbelievable properties, and Lolly Extract’s Jabberwocky Marionettes provide some funny and fanciful puppet characters. Rachel M. Sypniewski has outdone herself with a wardrobe of clever and colorful costumes that also parody familiar musical theatre characters. Many make quick costume changes easy, as well. The look of the show would suffer without Keith Ryan’s great wig design, as well as Syd Genco, doing double duty in this show, serving as the musical’s makeup designer.

Since the pandemic ended, our return to live theatre has caused contemporary audiences to become used to the 90-minute, intermission-less one-act play. Our attention span has decreased. The rare 2-hour show, that offers a short break after the first act, now feels too long. While Tyler Anthony Smith’s show is a brilliant, delicious, gag-filled satire, it could stand to be trimmed back a bit. Always leave the audience wanting more, is the old adage. Maybe even save some of the hysterical material for a sequel. I absolutely loved everything about this musical parody but, especially with an 8 o’clock curtain time, the show simply runs too long.

Aside from its length, Tyler Anthony Smith’s Parody Musical is a real winner. It’s drop-dead funny and feisty and very adult. Theatergoers familiar with Hell in a Handbag’s previous productions will certainly know what they’re in for. But patrons who are visiting this theatre company for the first time may be shocked by some of the very mature subject matter and the prevalence of so many four-letter words. However, the liberal, openminded audience will find this astounding satire of the Broadway musical an absolute adult delight.        

Highly Recommended

Reviewed by Colin Douglas

Presented May 2-June 16 by Hell in a Handbag Productions at the Chopin Theatre, 1543 W. Division St., Chicago.

Tickets are available at the door, by going to www.handbagproductions.org or by going to www.buytickets.at/hellinahandbagproductions/1116848.

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