“Hair” is the thing at the Paramount!

By Lazlo Collins
Here is the thing about “Hair”, like the hair styles that travel through the ages, some may look good back in the 70’s; however, some just don’t translate to the present. The musical “Hair” currently running at the Paramount Theater in Aurora, IL, is having some of those same “hair” style issues.
Let me preface this review by saying, for the most part, I really did enjoy “Hair”. The company had so much energy, the set was right on, the songs were executed well, and the costumes were perfect; having said that, the show for me just did not translate to its audience.
Perhaps “Hair” would have had a better chance at grabbing its audience if the house were smaller. It seemed that even with the high energy cast and sound system, the cast was working double time to get us to participate. Maybe it was just a Friday night thing? I wanted to feel more from the story and songs. In truth, it felt too loose and hippy dippy and not enough real story moments. (With the exception of the final scene of the show)
The two gentleman leads of Claude (Skyler Adams) and Berger (Adrian Aquilar) gave us moments of raw and anger to sustain our disbelief. Mr. Adams knocks it out with his acting and several of his songs. Mr. Aquilar, was impressive, and has an excellent voice; but I would have liked more dynamics to the often one-noted dimension of his character. I wanted to like him so much more.
Some Tribe standouts were Woof (Adam Michaels), Jeanie (Dana Tretta), Crissy (Maggie Portman), Dionne, (Donica Lynn), and Abraham Lincoln (Alexis J. Rogers). These tribe members stood out not only for their solo work, but brought me closer to the story with each scene.
Some notable tribe numbers throughout the show were “Hair”, “Where Do I Go”, “Walking in Space”, Three-Five-Zero-Zero”, and “Flesh Failures”. The entire collection of Claude’s military “trip” was enjoyable and great to watch. I felt the cast had put down their guard and just let themselves be in the moment.
With Doug Peck at the helm, the music execution was clear and soaring. Again, the set concept (Kevin Depinet) was superb, who wouldn’t want to make an entrance through a beaded curtain three floors up? The costumes (Melissa Torchia) were familiar and fresh. Lights (Jesse Klug/Greg Hofmann) and projections (Mike Tutaj) added greatly to the interest of the show.
I have seen many of Rachel Rockwell’s directorial endeavors in the past and have always loved what she has done. This production of “Hair” was no exception; however, this show did not make it across the footlights for me.
Perhaps it is just a matter of time travel or taste, but for now I will recommend “Hair” to those that want to romp with the tribe one last time. All others beware; the movement may have passed us by.
The 1960’s Love-Rock Musical “Hair” is at the Paramount Theatre in Aurora, IL through 1 April 2012. 630-896-6666 or www.ParamountAurora.com

“The Light in the Piazza” Casts a Beautiful Glow.

By Lazlo Collins

It is the lovely story of girl meets boy with an operatic, Italian twist. “The Light in the Piazza” delivers the story and more, at Theo Ubique (say thee-ah oo-bah-kway) Cabaret Theater.  This version of the recent theater classic, are sung in all its lyric richness by a talented cast.

I saw “The Light in the Piazza” in its pre-Broadway run at the Goodman Theater. I enjoyed the show then, and loved it even more at The Theo Ubique.

Known for their pared down versions of original large scale musicals, Theo Ubique Cabaret Theatre makes this “Piazza” story come to life with all the vibrancy of an Italian street celebration. Although this more operatic show may not be for everyone, its music is immediate and satisfying.

Leading off the show we come upon the mother Margaret Johnson (Kelli Harrington) with her daughter Clara (Rachel Kippel). They are abroad in Florence, Italy taking the cities sights and sounds by storm. In a moment of sweet theater cheesiness, the handsome young Italian Fabrizio Naccarelli (Justin Adair) catches Clara’s hat in the breeze. They lock eyes and are in love.

The story of courtship and young love continues, and in the process we meet the Naccarelli’s. Mother and father (Denise Tamburrino and Michael Kingston), brother (Pavi Proczko) and his wife (Elizabeth Lanza) move this musical along with robust Italian songs and a hardy dose of comedy.

But as we find out, something about Clara is not all together right. After a childhood accident, Clara remains a child trapped in a woman’s body. She is innocent and misguided, which ultimately brings her mother to her own reflections of guilt, and the misguided love she endures herself.

This journey leads all the characters to the exciting climax of love’s perpetual contemplation, whether in Italy or where ever your journey may take you.

As mother Margaret Johnson, Ms. Harrington captures the reluctant “woman in charge” with sweetness and perfect timing. Her contemplations to the audience are tragic and funny. Ms. Kippel, as daughter Clara, takes us through a remarkable journey of love and confusion. She made me root for her until the very end.

The family Italia is also talented and well represented.  As Signora, Ms. Tamburrino, is authentic and pleasant to watch; along with her son Guiseppi, who gave the story it’s more comedic moments. As Guiseppi’s wife, Ms. Lanza is stunning and brings the necessary bravado to her role of woman scorned.

Rounding out the family photo, Mr. Kingston, as the father, was so poignant and tender; a pillar of strength and cornerstone of the family. Mr. Adair who plays the love struck Fabrizio is earnest and sweet in his passionate pursuit of the American girl.

All the cast members in “Piazza” were remarkable singers with beautiful voices. Each performer had their moment to cast their spell on the audience. With difficult music and sometimes little traditional piano accompaniment, each song was executed with passionate resonance. Some of my favorite musical selections were “The Joy You Feel”, “Dividing Day”, and “Let’s Walk”. My least favorite was the weird pop duet “Say it Somehow”, the execution was good, but with a song that didn’t seem to fit with the rest of the shows music plan.

The rest of the great cast is the stoic Clay Sanderson; and William Aaron and Christin Boulette.

With clear and thoughtful direction by Fred Anzevino and Brenda Didier, “The Light in the Piazza” is a treat to watch and listen to. The set (Adam Veness) is amazing, especially considering the space. And I must say that the lighting for this show was SUPERB. It was thoughtful and transformed the play spaces to other times of day, and other spaces within the piazza. At times it was like watching an old movie.

Huzzahs to Jeremy Ramey for great coaching and musical direction that sounded simply beautiful!

“The Light in the Piazza” shines at Theo Ubique Cabaret Theatre through 29 April 2012.

Tickets 800-595-4849

R.S.V.P for this “Catered Affair”!

By Lazlo Collins

Porchlight Music Theatre’s, “A Catered Affair”, now playing at Stage 773, is ultimately pleasing and emotionally charged. When you enter the theater, the set (Brian Sidney Bembridge) is as solid as the residents that this musical is about. The main characters take us “onward” through a day, and then a life of love; with its many pitfalls and rewards.

The Hurley’s are Aggie (Rebecca Finnegan), Tom (Craig Spidle) and Janey (Kelly Davis Wilson). Janey is one, very in love, daughter; announcing her nuptials to one Ralph Halloran (Jim Deslem). This simple declaration is complicated by a few things that see this play through its emotional journey.

Her brother is dead, her father has just agreed to buy his share of his cab, and her mother wants to have a proper wedding for the daughter they ignored. Toss in a live-in gay uncle that does not get invited, and let the action begin.

This ninety minute musical is lovely in its pace and execution. The tenderness of the score (John Bucchino), and sometimes searing book (Harvey Fierstein) is treated well.

The music moves this musical for sure, under the careful direction of Doug Peck.

As the war inside this family unit wages on, Ms. Finnegan, as wife Aggie, is a remarkable prescience in this role. She leaves the audience breathless more than a few times. But her execution singing “Our Only Daughter” was a showstopper. She brings the audience to heartbreak and smiles throughout the show.

Mr. Spidle as her husband Tom is equally chilling and tender in his turn as a man in a seemingly loveless marriage. His rage and tenderness are both exacting and exciting to watch.

The love born couple of Ms. Wilson and Mr. Deslem are youthful and full of hope. Their passions and misgivings are well played throughout the show. Ms. Wilson was so believable to me. She was dead on with her portrayal of a daughter understanding her predicament and challenges.

Uncle Winston’s character was a unique one for me. The story for his need of acceptance was sad. Not only acceptance for himself, but for others as well. Jerry O’Boyle was sweet and funny in his portrayal of this complicated character. He character grew on me and ultimately won me over; and was grateful for his ultimate victory of self assuredness.

Rounding out the talented cast were the neighbors, friends and in-laws by Larry Baldacci, Brittani Arlandis Green, Anne Sheridan Smith, Caron Buinis and Lauren Villegas.

Again, the music was moving and wistful; the performances powerful and resolute.

With strong direction under Nick Bowling, “A Catered Affair” is a gem of a musical well worth a beautiful reception.

Porchlight Theater’s “A Catered Affair” runs through 1 April 2012 at Stage 773.

“South Pacific” is calling. Enjoy this tropical treat.

By Lazlo Collins
When you love theater as much as I do, and you are of a certain age, you have either been IN a production of “South Pacific” or have SEEN innumerable amateur productions of “South Pacific”. This being the situation in both cases, I was excited to see a professional production in all its glory. From the buzz at the 2008 Tony award winning production from Lincoln Center, I was looking forward to this new revival.
With the overture intact, underscoring what can only be described as, homage to the color slide tinting of “South Pacific” the movie, on the act curtain, I was excited to hear the classic songs of this winning musical.
If you are not familiar with the story of “South Pacific” it is the story of a World War Two romance. She is Nellie Forbush, the naïve girl from Little Rock, and he is Emile de Becque, the suave, plantation owning, Frenchman who left his native town because he, yes, killed a man.
The story goes deeper than war torn lovers thrust together. It weaves the tale of race and discrimination based on the color of skin and the consequences of following one’s heart and not what we are taught.
As “Nellie Forbush”, Jennie Sophia brings her strong acting chops and pleasant personality into the role. She has stepped into the role with enthusiasm and grace. She brings a lovely dependable voice. Her opposite is “Emil de Becque” played by opera guy Marcello Guzzo. He is solid and sings beautifully the shows familiar musical pining’s. The pair has a believable rapport and keep their scenes moving throughout the show.
Cathy Foy-Mahi as “Bloody Mary” puts in a standard performance. Her accent came and went from time to time and I actually wanted her to be even bolder, but she won me over with her creepy version of “Happy Talk”. The irony of attempting to make things cheerful with her dark intent was great.
While I enjoyed all the seabees, ensigns, and sailors in the show, they kept the action lively and fun. “Luther Billis”, (Christian Marriner) was a standout throughout the whole south sea adventure. His energy and enthusiasm was a noticeable addition.
Shane Donovan as “Lt. Joe Cable” was pleasing as the dutiful Marine. His voice was amazing and clear. I found him to be pleasant and very matinee idol like. I think I did want to see more consternation about decision to leave his lover “Liat”. (Hsin-Yu Llao)
A shout out to James Graham who played “Commander Harbison”, I thought his stage presence was outstanding and his strong but sensitive commander was superb.
The rest of the cast romping on the island were fun to watch and voices with all the familiar songs took me back to the first time I had heard the album at my bubba’s house when I was young.
The set was just right for me. It seemed like a post card with every scene. It was simple in its use with this traveling production. The themes seemed fresh and new for today; and not from 1949.
This production of South Pacific both made me nostalgic and satisfied. Not bad for the sometimes maligned Rodgers and Hammerstein. I think we could all use a dose of corny sweetness once in a while.
You can enjoy this treat of a south sea adventure and Bali Ha’i through Feb. 26, 2012 at the Cadillac Palace Theater. www.broadwayinchicago.com

“Hunger” plants the seed of thought at Lifeline

By Lazlo Collin
“Hunger”, which opened recently at Lifeline Theatre, is one part interesting, historically based thriller and one part Soviet soap opera. So put on your gray overcoat and hunker down with a dedicated cast with a powerful drama.
When the Nazi siege of Leningrad in 1941 starts to happen, we come upon a group of scientists huddle together in a laboratory. We soon learn these scientists, although with different specialties, all are gathered to serve Stalin’s regime. And what do they all have in common? The service is to the seed. We have begun our journey with botanists of all disciplines safe (for now) in their office, or rather, the seed stronghold.
“Ilya”, broodily played by John Henry Roberts, in the lead; takes us through the story of 900 days of terror, famine, loss, and redemption. He is ultimately charged to protect the seeds along with his colleagues. They examine, philosophize, and ponder the meaning of why the seeds are so important. And what the real science of seed growth and propagation can bring.
Ilya’s wife, and fellow botanist, is “Alena” played by Kendra Thulin. Ms. Thulin’s portrayal of dutiful wife and true believer of good is subtle and quiet. She makes little noise against her circumstances until it is too late. Her opposite in the work place is the lovely Jenifer Tyler portraying”Lidia”. Ms. Tyler’s sad portrayal in the decline of what was once beautiful and sacred is at times heartbreaking.
The vocal and unsettled co-worker who gets worked up quite easily is “Sergei” played by Dan Granata. Mr. Granta’s worrisome portrayal of a man torn between duty and want is excellent.
Rounding out the lab partners is “Vitalli” played by Peter Greenberg. Mr. Greenberg plays Vitalli with a fragile resignation brilliantly. Later he excellently portrays Lysenko. The opposite in every way, Lysenko becomes the director of the scientific team and uses intimidation and inside knowledge to toy with the remaining team members. Mr. Greenberg sinks his acting chops deep and never let’s go. I loved seeing his transformation from the first act to the second. Well done Mr. Greenberg.
The female counterpart to Mr. Greenberg’s duo roles is Katie McLean Hainsworth as the mousey, quietly rebellious, “Efrosinia” in the first act and the slithery, sneaky scientist,” Klavdiya”. Ms. McLean Hainsworth does an excellent job with both characters. She creates two distinctly different women, both characters ultimately fooling themselves in the end.
Christopher M Walsh’s brings the group together as “The Director” that keeps hoping that everything will turn out okay until he is whisked away in an effort to bring about chaos and change among the scientists. Mr. Walsh also makes a second act resurrection as a different character with satisfying results.
Chris Hainsworth’s adaptation of Elise Blackwell’s novel of the same name is well crafted. Its detail to the days of the struggle represented by all the scientists is well done. Its seriousness circumvented with some humor to lighten the mood where needed. The play moved well, but I think could be served by a few scene snips.
With the writing and characters firmly in place, we should introduce the last of the characters in the show, the set. Jessica Kuehnau’s multi layered a multi-use space, was amazing. The nooks and crannies of the set explored by the cast, made the adventure of watching “Hunger” all the more entertaining. The set really had a life of its own; revealing itself, layer by layer, as the story progressed. Along with Lighting (Kevin D Gawley), and Sound (Andrew Hansen) the setting could not have been more satisfying.
The soundtrack sometimes seemed a bit Tele Novella, although I could see the movie reel style design bringing us back to a time of uncertainty and intrigue. This play will plant a seed of contemplation with its audiences.
“Hunger” runs through March 25 at Lifeline Theatre. For tickets dial 773-761-4477 or visit www.lifelinetheatre.com

American Idiot Delivers Loud and Lovely

By Lazlo Collins
As I settled back into my chair at the Oriental Theater in Chicago, I began to recall Green Day’s American Idiot album (or should I say CD) that I heard before. The break out songs, the angry guitar riffs, and the raging lyrics by Billie Jo Armstrong were being strongly considered before the curtain rose.
When the act curtain was finally open, I searched the set for signs of a great Broadway musical. The music began and the volume was LOUD. Perhaps the “rage against society” or “where am I going” rock musical would be too much for me? Perhaps I was too old to appreciate the messages of lost youth, of lost passions, of friends separated too soon? I was getting nervous.
The hour-forty, no intermission, groundbreaking Broadway musical had begun. With the band onstage and ready to go, the story of three friends bored and ready to beat it out of town for something more, was off to a frantic start, with the title song of “American Idiot”.
The main trio of men is revealed immediately throughout the first song. Johnny (Van Hughes), Tunny (Scott J. Campbell, and Will (Jake Epstein) are three close friends. The three are bored, unmotivated, and questioning the world around them. And with their musical “Holiday” cue they are off.
At the gate, Will stays behind to take care of his child and girlfriend. Mr. Epstein plays Will with all the downtrodden apathy he can muster. He takes on his child filled consequences with careful consideration. He is left behind by his pals, but the drama of an unhappy girlfriend will keep his story moving throughout the show.
As Tunny and Johnny continue on to the “Boulevard of Broken Dreams”, Tunny joins the Army and Johnny stumbles behind. These two men are standouts in this production. Mr. Campbell is not only stunningly strong throughout his portrayal of the reluctant Army guy, but his lovely tenderness that translates from his profound loss is clear and so moving. He is a presence with his frame and his fabulous voice. I could not wait for him to sing again.
Mr. Hughes’s Johnny is also strong, clear, and a little dopey. I am not sure if this was a convention of this particular show, but was a choice that worked for his character. His descent from love into heroin madness is a heartbreaking. Mr. Hughes is very likeable on stage, not to mention his enormous talent as a performer and singer. His clear tones with contrasting sweet ballads versus rock and roll anthems are well executed, and emotionally driven. His casual, wily, smile suits this actor well.
Wait a minute, my nervousness and apprehension about the show is gone. I am totally into the story, song, and characters. It is still LOUD, but also soft, also sweet, and also sad and thought provoking. It is official. I am a fan.
As the story moves along for each of the men, we meet their muses. The pregnant, Heather, played by Leslie McDonel; the mysterious drug lover, Whatsername, played by Gabrielle McClinton; and the Army fantasy companion, The Extraordinary Girl, played by Nicci Claspbell. These woman were all excellent in there respective roles. Ms. McDonel and Ms. Claspbell were matched perfectly for their characters. Through the anger and frustration came lovely voices that translated throughout the audience. Ms. McClinton’s intensity sometimes overshadowed her performance and at times it was difficult to understand her lyrics. That said, it is a difficult role to perform with its constant intensity.
Rounding out

the rage is “St. Jimmy” played delectably sinister and invasive by Joshua Koback.(His “exit” was brilliantly staged.) His voice was amazing as well. Bravo!
It would be completely wrong not to mention the dynamite ensemble that continued to swirl and move around the main characters. The choreography (Steven Hoggett) was always interesting and always seems to be pushing, and fighting against an invisible force surrounding the actors. Each time an ensemble member was featured in a solo performance there was never a disappointment in style and performance.
The scenic design (Christine Jones), sound design (Brian Ronan), lighting design (Brian Ronan), and lighting design (Kevin Adams) were all amazingly integrated in this production. Many times I smiled at the wonder of these elements all working together at such an accelerated pace.
I tip my hat to Michael Mayer for another successful youth driven discovery piece for us; (Although the set seemed reminiscent of “Spring Awakening” in some ways; sans the monitors.) and to Green Day for its driving melodies and clear line of musical power; moving from album to musical theater showpiece.
As the final strains of the guitars after the curtain call brought a tear to my eye, it was clear; I HAD been captivated by all the misplaced dreams and rage. “American Idiot” had won me over. You are never too old for rock and roll and rage. Go get carried away.
“American Idiot” continues at the Oriental Theater, through Broadway in Chicago, through 19 Feb. 2012. Call 800-775-2000 or online at www.broadwayinchicago.com

“Bachelorette” – Sex, Drugs, and Comedy!

By Lazlo Collins
In the Profiles Theater newest offering, “Bachelorette”, the champagne flows, the shouting is often loud, and the relationships are complicated. It could be an episode of a “Housewives” reality show. But what sets this show apart from reality TV is that “Bachelorette” is people we actually know AND sometimes love.
The characters in this 90 minute hotel room romp by Leslye Headland are the girls and guys that we have all known in our lives. Everyone seems to be in some kind of pain and trying to make the pain go away with varying devices. There are reasons that after ten years’ time, people no longer stay friends, or even enemies. What happens when girlfriends of the past just show up? Well, with the right ingredients and the right setting you have “Bachelorette’! This play is second in a series by Ms. Headland themed around the seven deadly sins. “Bachelorette” is the gluttony play.
It is the eve of Becky’s (Rakisha Pollard) wedding, Gena (Amanda Powell) and Katie (Linda Augusta Orr) show up in a suite at the Peninsula Hotel in New York. (Kudos to set designer Scott Davis for making me feel fancy then claustrophobic as the play unfolded.) They are the uninvited. Unbeknownst to the bride-to-be, they are asked to come to the suite by the maid of honor, Regan. (Hillary Marren) They hate the bride for what she is and seemingly has, but are willing to overlook their feelings for a fun night out at the bride’s physical and emotional expense. But of course they shouldn’t even be there in the first place.
Gena and Katie waste no time; well, getting wasted. The girls make themselves right at home exploring their cozy situation and the rooms beyond. With the booze and cocaine in hasty consumption, the truths of these three woman’s relationships and heartaches boil to the service.
Ms. Powell as Gena is explosive as the bitter and coke fueled rebel. Always seeming to get the short stick, and yet she longs for control of her life. She was excellent in her portrayal as a woman all too happy to escape, but accepting responsibility of a life that she did not want. Ms. Powell’s transition from sober to somber to roaring tiger was well crafted.
Her BFF in crime, Katie, played by Ms. Powel, was also played sharp and with stinging reality. Moving from the screeching of “why me?” to passed out rag doll, Ms. Powell captures the sensitivity of someone who does not understand what happened and how they arrived where they are in life.
If we know anything about Regan from the start is that she is a troublemaker with a capital “T”. Ms. Marren plays the manipulative “good girl” with searing astonishment. Not until the end of the show do we understand why her staying in control is so important. Her portrayal of this complicated character is a winning one.
Of course adding to the emotional boil is the entry of the two men in the show. Regan’s invitation to the men is a dangerous calculation on her part, not thinking through what could possibly happen. Joe (Eric Burgher) and Jeff (Adam Soule) have only arrived for an adventure. Part curious passerby’s and part sexual predators; these gents won’t know what hit them after a night with the “Bachelorettes”.
Mr. Soule’s pursuit of Regan, the master invitee, was played deftly. His standing up to Regan and calling her out on her hijinks along with trying to woo her in the bedroom was great. With his true character revealed at the end, you somehow hoped he would be a decent guy.
In sharp contrast was Mr. Burgher’s character of Joe. It is clear his love of weed and following his friend Jeff is what may get him into many of the situations he does, including this one. He is a reluctant troubadour. His pathos for the girl that catches his eye clearly comes across to the audience, as well as his strange innocence. He is a follower on the surface, but in the end his valor wins out and reason takes the day.
As the night winds down (or up?), the arrival of the bride herself with cake in hand is moment the audience has dreaded from the start. She is sweet and overbearing, but quickly there are hints of her own struggles with the female guests that have come to celebrate in her suite. Ms. Pollard’s seemingly stately control is a breath of new hot air that makes the audience feel her pain and position well. Her discovery of the suite’s uninvited guests; as well as, physical condition of the room itself, lends for some uncomfortable moments for the audience.
Darrel Cox has done well to weave a layered, gilded web to trap all the characters in this pleasing ensemble piece. His actors are committed to the roles and never seem false or pretending. With the realistic dialogue, perhaps that is why I think all who see “Bachelorette” will be able to find themselves in at least one of the characters, or if you’re honest with yourself, maybe two.
“Bachelorette” continues through 11 March at Profiles Theatre at 4147 N Broadway in Chicago. For tickets call 773-549-1815 or profilesbachelorette.org

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

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.