Double Trouble: More than a two person musical.

Double Trouble – Porchlight Theatre

Reviewed by Dan Haymes

Double Trouble is a musical farce about two brothers, Jimmy and Bobby Martin, who just moved to Hollywood to start writing songs for MMG Studios; a spoof of MGM studios. After the brothers are given only a few hours to write a hit song, the complication of a mutual love interest adds to the equation. Putting their new song writing career on the edge of destruction.

Double Trouble is the definition of an ensemble show, but without an ensemble. The show is headlined by two true triple threat brothers, Adrian and Alex Aguilar, who display incredible vocal variety, impeccable comedic timing, dancing with enough grace Gene Kelly is weeping, and so much charm that it’s practically seeping out of their pores.

Rough and Gritty Relationships start off Profiles Theatre’s season with “In God’s Hat”

In God’s Hat – Profiles Theatre

By Cat Wilson

Profiles Theatre opens their 2013-2014 season strong with an explosive and emotional tale of family loyalty and hatred. “In God’s Hat”, written by Rhett Rossi, portrays the delicate balance of love among brothers with a dark past.

After not seeing each other for ten years, Roy, played by the very talented Darrell W. Cox, picks up his older brother Mitch, played by an equally talented Larry Neumann, Jr. They spend a tense night together in a little motel down the road where they begin to open up old wounds, and Roy struggles with what his brother did. But when a fellow recently-released inmate shows up, Roy is forced to decide between his anger towards his brother and his family loyalty.

Strawdog Theatre Meets Us ‘Round the Pub, With “Conversations on a Homecoming”

By Lazlo Collins

Somewhat Recommended

“Conversations on a Homecoming” is the latest offering at Strawdog Theatre Company. This 90 minute “conversation” is well acted, but the story stunts the action.

I have seen several Irish Plays performed throughout the years.  They are generally speaking, dark; and have a brooding quality about the story and characters. Not to disappoint, Tom Murphy’s characters are dark and brooding.  It was hard to wrap my head around this piece as the play moved along. Mr. Murphy’s play seemed too slow and pondering, with a pace that never really took off. I am aware he is a well lauded playwright, however, I never quite engaged with this particular play of his.

The story revolves around “Michael’s” homecoming to Ireland. He has been in America for 10 years, and is now coming to the pub to see his friends. Michael’s homecoming brings up all sorts of emotions for the group he is about to engage.  It’s the mid-seventies and the promise that was the early sixties in Ireland has shaped these now middle aged men and their respective circumstances.

The friends at the pub are at first happy, or perhaps intrigued, to see their old friend from Galway. As the conversation and liquor begin to flow, the emotions run high. The pub guests’ volley, poke, and prod at each other until failed longings and misguided decisions are painfully revealed.

The direction by Jonathan Berry was well executed. The staging of the players was staged in the main room of the pub, like fighters in a cage match. He moved the actors around like fighters jabbing forward and back; retreating to the corners of the pub when the conversations became too heated, at strike of some imaginary bell.

The most captivating and most destructive of all the patrons is “Tom” (excellently played by Michael Dailey) Mr. Daily’s portrayal of a jealous man, taken down by his own decisions was perfect.  He was menacing and made me angry. That means he did his job.  I felt pity and rage all at once. Mr. Daily is a talented actor.

As his long suffering mate, Anita Deely as “Peggy” was well played and real. Ms. Deely did a fantastic job. She kept the pathos and pace in check and on track. I loved her touching moments, and the moments through the play when she realizes she must soberly face her uncomfortable fate, just outside of Galway.

Adam Soule does a good job as the returning “Michael”. His optimism and personality shine through at every obstacle. He regally portrayed a man who wants to be part of his past, but as seen too much of the future. His interest in the quiet “Anne” was sweet and appropriately uncomfortable.

The other colorful pub characters give it their all as the come and go through the conversations throughout the play. Jeff Duhigg as Junior was understated and sweet, with just the right amount of angst. “Liam”, played by Ed Porter was more problematic. Mr. Porter seemed a bit out of sorts with the rest of the cast. His ill at ease character of “Liam” had a frenetic energy that didn’t seem to match the rest of the actor’s paces.

I tip my hat to the young actress that played “Anne”, the pub owner’s young daughter, after a medical emergency that prohibited the original actress from participating in opening night. She forged on with script in hand, and did an outstanding job. Please buy that girl a pint.

The set was meticulously executed and designed by Mike Mroch. I enjoyed the use of the Strawdog space.

This play has everything going for it, except, for me, a truly compelling story. The way poor Michael was received, I would have left before the first pint was finished. The special moments of the story get lost in the translation.

Perhaps it was too warm in the theater, perhaps I needed a pint from a long day; but whatever the reason, I was not transformed with the actors. I felt like an uncomfortable bystander waiting for them to stop drinking and go home. I never felt the payoff.

Maybe I need to see more Irish plays and discover that the yelling and confrontation is just part of the conceit of these types of shows.

Again, the acting, the accents, and the action seemed like a labor of love, without the grounding of a compelling story.

Conversations of a Homecoming can be seen at Strawdog Theatre through 28 September 2013. Tickets can be purchased through the box office at 773-528-9696.

For more information on this and other shows please visit theatre in Chicago at www.theatreinchicago.com

The Power of Love Validated in Violet

The Color Purple

With a plot that spans forty years and two continents, Marsha Norman’s (“The Secret Garden”) book, with music by Brenda Russell, Allee Willis and Stephen Bray, feels a little bit choppy. So much story and so many characters are packed into this much-honored musical that it’s often difficult keeping track of where we are and how many years have passed between scenes. But, because of a winning, earnest, enthusiastic cast, some exciting choreography and a beautifully played and sung score, this poignant story praising the kinship of girl power and love’s healing quality emerges.

Letting Boy Small out of the Cage

Fine Print Theatre’s Boy Small

Playing at The Red Tape Theatre on Belmont is a show called Boy Small, presented by The Fine Print Theatre, written by MT Cozzola, and directed by Patrick Kenney. It is based around the events of Christian Choate, a thirteen-year-old boy whose body was found after he was neglected and abused by his family to the point of death. The production presents a look at what this family might have been like, focusing on the father, stepmother, sister, and of course, the boy. Even though the relation to Christian Choate’s murder is referred to in the playbill and the details very similar to the facts, Cozzola chooses not to keep the real names of these people but instead gives nearly everyone titles like Dad, Sissy, and Boy. The details aren’t quite the same either, but none of the police reports could tell us exactly what was going through the minds of these people who abused their son. The playbill also includes a quote from Riley Choate, Christian’s father, saying ‘All my actions will haunt me forever. I loved my son.’ The show makes the situation complicated, painting no one as a true villain or victim.

Come Hear The Music Play! at Light Opera Works, Cabaret!

By Lazlo Collins

Somewhat Recommended

Light Opera Works current production of Kander and Ebb’s “Cabaret” is a solid audience pleasing event.  All the cabaret creatures are present and accounted for in this lovely sung and decorated version.

“Cabaret” is a tricky musical to stage anywhere. It can be deceptively difficult to capture the desperation, and raw terror that accompanies the all too familiar score of this Broadway classic. “Cabaret” sets the scene in pre Nazi Berlin. The tensions are quickly mounting as Berlin’s culture is changed. Hitler sweeps his power over this once playful city. Sexuality is burgeoning and confusing in these last safe days of Berlin’s cabarets.  Light Opera Works “Cabaret”, under the skillful direction of Stacey Flaster, plays it safe.

Safe is not bad. The show, as a whole, moves well and there are some outstanding performances; but, the piece moved quickly over the dark political and sexual play that is in imbedded in “Cabaret”.  This “Cabaret” is pretty and breezy. It’s makes the most of the dancing and familiar song book; it was an obvious choice to keep the tone light.

The much anticipated performance by artistic director Rudy Hogenmiller, as the “Emcee”, was in evidence for opening night. Mr. Hogenmiller’s command of the piece was excellent. He set the tone of the show from the get go. His doll like make-up and sinewy frame made him appear other worldly; perfect for our guide weaving us through this complicated story. Mr. Hogenmiller has much experience on the stage and this showed through his superb stage presence and dancing.  His energy made the audience engage almost immediately.

Jenny Lamb as “Sally Bowles” was an energetic firestorm. Her frantic need for acceptance, with her lack of her own self-worth, makes her a complex character to portray. Ms. Lamb clearly has the vocal chops to bring Sallys’ songs to a life.  Her counter point to Cliff seemed too rushed and manic. I wanted to care more about her, and see more inside her character; however, Ms. Lamb held her own and prevailed.

Having seen more than a few productions of “Cabaret”, I always feel like the Cliff Bradshaw characters are always cast as wooden men, with no particular emotional depth. David Schlumpf’s “Cliff” was a  refreshing change.  Mr. Schlumpf brings dimension and life to a character searching for the answers as his own world is turned topsy-turvy by The Kit Kat Klub, and all Berlin has to offer. He worked well with Ms. Lamb on stage. His performance never felt insincere or rushed, and his voice was beautiful.

If I had to pick a performer that kept me enthralled, it would be Barbara Clear’s lovely portrayal of Fraulein Schneider.  She was the heart of this production. Ms. Clear interpretation and energy was superb. Her songs made me listen to her and the emotions she provided.  After she calls off the wedding to Herr Shultz, her interpretation of, “What Would You Do?” is haunting and crushingly beautiful. She brought realness to the proceedings.

As Herr Schultz, Jim Heatherly, is both pleasant to hear and see on stage. Mr. Heatherly’s likeable acting style and engaging storytelling songs where great. He keeps the story moving and is always in the moment on stage.

The chorus and ensemble of players were right on the mark with all the dancing and singing. The gentleman that sang the lead in “Tomorrow Belongs To Me” was outstanding.  He has a lovely haunting tenor to be sure.

I loved the Kit Kat Klub band on the stage. You ladies are rocking it, especially, just before the second act begins.

I also loved hearing this score with a beautiful orchestra under the direction of Roger L Bingaman. The music was superbly well done. It was rich and well balanced.

Angela Weber Miller’s scenic design was both practical and interesting.  I liked the startling difference between the areas. I also like the way the glass store front was broken. The costuming, by Jesus Perez, was excellent with flair and sparkles where needed.

This “Cabaret” was a great evening out of solid entertainment.

Light Opera Works “Cabaret” continues through 25 August 2013 at the Kahn Auditorium in Evanston.

Tickets for “Cabaret” are available at www.lightoperaworks.com

For information on this and other productions visit www.theatreinchicago.com