The Perfume of Power

Sweet Smell of Success

In 1952 New York City a small-time performer could suddenly become a big name celebrity overnight, thanks to newspaper columnists like JJ Hunsecker. His subtle, enigmatic mention in his column of a venue, an event or an up-and-coming star was akin to someone appearing in today’s National Enquirer, on TV shows like TMZ or sounding off on Twitter. Into Hunsecker’s world comes aspiring young press agent Sidney Falco who hungers for the same power and prestige. When JJ’s pretty younger sister Susan, whom he feels he must protect and shelter, falls in love with Dallas Cochran, a talented but struggling young pianist, Hunsecker promises to help Sidney’s career if he’ll destroy their relationship. JJ’s corrupt influence and control infuses this story of absolute power corrupting absolutely.

Theatrical Gold Awaits in Milwaukee

End of the Rainbow

In a lavish London hotel suite dominated by a baby grand and high windows (that later transform into the venue where the singing legend performed her final concert), Judy Garland, played to perfection by Chicago musical theatre actress Hollis Resnik, bursts onto the scene, sinks her teeth and claws into this production and never lets go until the end. Sharing the stage with the two men currently in her life, her young fiancee and manager Mickey Deans and Anthony, her long-time British accompanist, Ms. Resnik isn’t merely an actress in a role. She IS Judy Garland and this show belongs exclusively to her.

Unchained and Scary

Ghost: the Musical

Blinding, flashing lights, astonishing special effects, loud electronic music that often drowns out the singers, but very little substance…that’s what most audience members will take from this production. After being subjected to more than two hours of overkill, in-your-face theatrics, this beautiful love story that even defies death is all but lost in its stage adaptation. Audience members who loved the romantic 1990 fantasy-thriller film that starred Patrick Swayze, Demi Moore and Whoopi Goldberg will find the story vaguely familiar. However thanks to Bruce Joel Rubin’s bland script adaptation and the frenetic Dave Stewart/Glen Ballard pop score (in which the Righteous Brothers’ love theme from the movie, “Unchained Melody,” is the highlight), there’s not much improvement to the original. And why should there be? In an era of unoriginal, adapted-from-a-popular-movie Broadway musicals, “Ghost” is yet another example that begs the question, “Why did someone think this was a good idea?” Add to this a visual assault of projections and blinding lights and patrons unfamiliar with the movie will wonder what’s the big deal? Throw in a young, mostly inexperienced non-Equity cast of performers and you have a recipe for certain disappointment.

When this production opened in London in 2011 it received mixed reviews but played a respectable 500 performances, primarily owing to the film’s devoted fans. The 2012 Broadway production didn’t fare nearly as well made it understandable why only a non-union touring production followed.

Steven Grant Douglas and Katie Postotnik work hard to make Sam and Molly, the two leading characters, as strong and believable as possible. But they’re thwarted at every turn by musical accompaniment that often drowns out what they’re singing, dancers who upstage them while flailing around to Ashley Wallen’s puzzlingly spastic choreography and a battery of moving projected images playing over their scenes. In an attempt to rise above the level of frenzy found in this production, Ms. Postonik’s vocals are often strained and painful-sounding. Bobby Haltiwanger does a creditable job as the movie’s main villain, Carl; and Brandon Curry’s Subway Ghost provides one of the show’s best moments. The play’s much welcomed comic relief is provided by Carla R. Stewart as Oda Mae Brown, the African-American pseudo psychic who reluctantly becomes Sam’s spokesperson after he’s killed. But even Ms. Stewart’s welcome presence can only do so much for this musical; and, directed by Matthew Warchus to overplay her role to the point of caricature, the audience soon tires of her over-the-top portrayal.

The only reason to see this production, which certainly doesn’t warrant its high ticket prices, are the special effects. Characters levitate, fly offstage and even walk through doors; objects levitate and glide around the stage; rain falls and umbrellas descend from the sky. Even New York’s cityscape soars toward the audience at breakneck speed making you feel like you’re on a runaway Disney World ride. If your idea of good theatre is bigger, louder, faster you’ll enjoy yourself; for those looking for a musical with pleasant, hummable songs, beautiful choreography and interesting characters honestly telling a memorable story, you might want to look elsewhere. Or better still, just rent the movie.

Not Recommended

Reviewed by Colin Douglas

Presented Jan. 8-19 by Broadway in Chicago at the Oriental Theatre, 24 W. Randolph, Chicago.

Tickets are available at the box office, by calling Chicago Ticket Line at 800-775-2000 or by visiting

www.BroadwayinChicago.com.

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

Welcome to Berlin

Annie Get Your Gun

Light Opera Works’ holiday production of Irving Berlin’s classic Wild West love story is a glorious treat for the ear. Conductor/Chorus Master Roger L. Bingaman’s competent 28-member orchestra wrings every drop of joy from Berlin’s melodic score in a way that would’ve made the Tin Pan Alley composer proud. Indeed, in this age of economical, tinny-sounding synthesized pit orchestras, LOW’s rich, full-sounding musical accompaniment is always the highlight their productions and provides an auditory feast.

All in the Family

Tribes

Sometimes seated around the dinner table, often popping into the kitchen as they attack each other with verbal barbs, the five family members seem like a typical family, albeit an intellectual, creative, extremely verbal and somewhat dysfunctional tribe who express their love for one another (as well as their discontent with their own lives) through insults. Through the shouting and turmoil the audience slowly begins to notice that one of the family, Billy, is just sitting quietly observing and eating. He hasn’t joined in the ridicule nor has he been part of any discussions. We soon learn that Billy has been deaf from birth. He’s been “listening” to everyone by reading their lips, a skill his parents taught him early in life so that Billy might fit into regular society. Billy has even learned to talk, though he’s never heard the human voice. However, as a result of his upbringing, neither Billy nor his family have ever learned to sign, thus isolating him and preventing him any interaction with the deaf community.

Mystery Most Foul

An Inspector Calls

Following an elegant family dinner at Arthur and Sybil Birling’s comfortable home in northern England, the arrival of a mysterious man is announced. He claims to be police Inspector Goole who inexplicably shares with them the sad news that Eva Smith, a young working-class woman, has tragically committed suicide. No one at the family gathering, including young Gerald Croft, who has just officially proposed to Arthur’s daughter Sheila, nor Arthur’s son Eric, recognize the young woman’s name, and begs the question: why is the inspector involving this family in the unfortunate incident?

Hell in a Handbag presents a Campy Christmas Classic

Recommended

By Lazlo Collins

It wouldn’t be Christmas in Chicago without a Hell in a Handbag offering to keep the holidays real (unreal?). With “Rudolph the Red-Hosed Reindeer” at rest this year, the folks at Hell in a Handbag bring us “Christmas Dearest”.

At the center of this Dickensian once over is none other than Joan Crawford herself. David Cerda (Actor/Writer/Artistic Director) is “Miss Crawford” in all her maternal glory.

“Christmas Dearest” is the story of Joan Crawford and her impetuous rule over the cronies that surround her in Hollywood with her extraordinary ego. The characters of her well documented life appear throughout the show. From daughter Christina (Christopher Lewis) to movie mate Bette Davis (lovingly played by Caitlin Jackson), move through the past and present twisting and turning though Miss Crawford’s Christmas Carol story treatment.

An Angel Gets His Wings

It’s a Wonderful Life – American Blues Theatre

The name George Bailey has become synonymous with Christmas since Frank Capra’s holiday classic first began airing on television nonstop during the 1980’s. Based upon “The Greatest Gift,” a short story privately published in 1945 by
Philip Van Doren Stern, this tale of a man who sacrifices all his own dreams to help his family and friends has become a timeless classic. Most audiences will be familiar with the 1946 b&w film, which is just about as perfect as anyone can expect. But American Blue Theater’s version takes this classic one step further.

One Dickens of a Show

A Christmas Carol

Whoever would’ve thought that a novella published back in 1843 London would not only become the most-told Christmas story of all time; it would even rival the story of the first Christmas in familiarity. There have been, and will no doubt continue to be, more versions and adaptations of Dickens’ story of Scrooge’s redemption than anyone can count. M.E.H. Lewis’ new adaptation is good, but director Shifra Werch’s production could use some tweaking.

Matthew Hallstein makes a good Scrooge, possessing a rich, commanding baritone that can level the youngest carolers or drive away even the most benevolent charity collectors. He fully understands the nature of the old miser and the dialogue Lewis has given him. The problem stems from his pacing. Scrooge has to be the driving force of this play and Hallstein simply takes too many moments of “reflection” to keep the story moving. At times Hallstein seems as if he’s stalling until he can recall his next line; but in retrospect, it’s more likely a directing choice. As a result, the rhythm becomes slow or staccato. When Mr. Hallstein is on a roll his Scrooge is a real fireball, but every time he stops to ponder the situation the play’s momentum comes to a halt.