tick, tick…BOOM! takes off after a slow start

By Kyle Babcock

In Rent, Jonathan Larson asked, “How do you measure a year in a life?”  The answer for him at that time of his life was love – the love you have for others and the love they share for you – sage, albeit hard-to-implement, advice for all.  However, earlier in his life, in his autobiographical, tick, tick…BOOM!, he delves into measuring 30 years in a life as a juxtaposition between the American stereotype of success: a family, a good job, Gucci belts, a BMW, and a “DE-luxe apartment in the sky-eye-eye” and a personal life filled with your dreams and passions that may not parlay into the American stereotype.

Fortunately, Larson chose to shun the stereotype, and despite external pressures, live for his dreams that resulted in a Pulitzer and two Tony awards as recognition for Rent. Conversely, the first thirty minutes of Porchlight Music Theatre’s production of tick, tick…BOOM! prove why he received the accolades for Rent and not this work.  This is not a reflection of the cast and crew of Porchlight, who do an admirable job, but a reflection of the mediocre material that lacks the ingenuity and grittiness of Rent.

The story revolves around Jon (Adrian Aguilar), a struggling composer in 1990 (I mentioned it was autobiographical, right?) who is just days away from his 30^th birthday – the end of youth according to him.  Jon hears a perpetual ticking, which he acknowledges to be anxiety and the expectations of adulthood.  Next, Jon’s two barometers for measuring his life are his girlfriend, Susan (Jenny Guse), and his best friend, Michael (Bear Bellinger).  Both of whom have moved to New York to follow their dreams as a dancer and actor, respectively.  Michael surrendered his acting career for one in Marketing, while Susan is on the cusp of trading in her dancer dream for a new dream of a full-time teaching job in Upstate New York and building a family.

The first thirty minutes are filled with clichés and the insipid “Green Green Dress” (but not a real green dress, that’s cruel*), where Susan seduces Jon, and then asks him to move Upstate with her in the forgettable “Johnny Can’t Decide.”  If not for the energetic performances of the three actors and the intriguing video set, this first thirty minutes would have been unbearable.  Then, to put it in today’s lexicon, wait for it (tick)…wait for it (tick)…the production took off (BOOM!).

At this point, I don’t know if the material improved or if the performances began to outshine the material.  The final sixty minutes were thoroughly enjoyable with Jon and Susan perfectly executing the politest phone disagreement in “Therapy”, Karessa’s (also played by Guse) show-stopping performance in “Come to Your Senses”, and Jon’s cathartic realization to be happy he must continue his composer dream in “Why”.   The latest was set during a rainstorm in Central Park, and I would be remiss to not recognize Mother Nature for the eerie assist during this production as hail rained down on the metal roof of the theater.  I would also be remiss in not recognizing Aguilar for a brief, but charming, moment of acknowledging Mother Nature’s participation with an upward look and a slight smile.

The performances are outstanding with Aguilar showing promise for larger stages, if he chooses.  Guse is elegant as Susan and enchanting as Karessa, while Bellinger deftly morphs into his many characters and provides a few laughs as Jon’s agent, Rosa.

The set design is simple but effective.  Ann Davis creates a world that easily converted into various settings:  a New York flat, a Madison Avenue ad agency, or Belvedere Castle in Central Park.  The video montage was interesting; however, for the audience on the sides, some images were blocked by the sets, including the final scene, which left me wondering what I may have missed.

I recommend tick, tick…BOOM! primarily for the performances; it may be one of the few times you may see Adrian Aguilar in Chicago.  It is playing at Stage 773, 1225 W Belmont until June 10.

* The not a real green dress is cruel reference is to a Barenaked Ladies’ “If I had a $1,000,000, which was popular in the early ‘90s – coincidence?

The Road Less Traveled is Exemplary in “The March”!

By Lazlo Collins
As the lights dim, and the moment you hear the footsteps of the soldiers in the distance, the hairs on the back of my neck stand up in anticipation and delight. A poor lone figure is at a grave…
“The March”, now playing at The Steppenwolf Theater, hits the mark of both sweeping historical drama and entertaining theater work. The man and the march in question are none other than General William Tecumseh Sherman and his relentless move through the south in the time of our country’s bitter civil war. As the play moves us with General Sherman’s troops, we enter the action after the taking of Atlanta. The scenes take us through his campaign and ultimately to North Carolina. The mud filled days and nights for the soldiers, and those that surround them, is laid out with empathy among the brutal realities of war.
Frank Galati’s adaptation, from E.L.Doctorow’s novel of the same name, is grand in its ambition and tone. Any adaptation of Doctorow is never a simple matter. The sweeping historical novels with fictional embellishments are what Mr. Doctorow is known for in his books.
Fans and Doctorow aficionados may remember his 1975 novel “Ragtime”. This novel was adapted into a hit musical in 1996, and then revived on Broadway in 2009. It covers historical figures, class struggles, and a sweeping American panorama.
It is with the loving attention to historical figures and dark feelings of American nostalgia that “The March” moves across the stage like the fog that surrounds it. Much of the success of “The March” is in its ability to be both a great story and a sad tale of lives torn apart during time of war. We see all in Sherman’s path affected by his military march. Rich, poor, white, black, civilian and army are all casualties of the man many would never know, but feel his soldier’s heavy oppression.
As “General Sherman”, Harry Groener, makes a fine commander. He commands the stage with his contemplative musings; all the while embracing his sense of purpose and goals. His explanation of a lost soldier, “losing a solider is a loss of a number, depleting his ranks by one”, was a moment into the man who we are led to believe is ruthless leader. We see how he struggles with those that he takes orders from, and those he governs. The audience sees his journey as a difficult one. He must finish the march he started.
If there were clowns during the dark days of this civil war journey, then the characters of Will B Kirkland (Stephen Louis Grush) and Arly Wilcox (Ian Barford) would fit the bill. The rouges of this journey are funny and sometimes sad. They take us out of the business of war, but also remind us of its casualties too. Mr. Barford is a particular standout in his role. He engages the audience winningly throughout his journey and divine interventions.
Other enchanting characters were Carrie Coon’s “Emily Thompson”, Marian Mayberry’s “Mattie Johnson”, and Philip R. Smith’s “Dr. Sartorius”. The actors in these intertwined roles exemplify the delicate balances of duty versus circumstance. Each character pressing on through their march; unable to completely grasp where it will ultimately take them when it is over.
I loved the sweet segment of Coalhouse Walker (James Vincent Meredith) and Wilma (Alana Arenas). There joined journeys gave us hope in the face of all despair and confusion. These actors connected me with the only characters that escaped the misery and the loneliness of the war. I wished them well as they walked out of sight. Their brief moments on stage were surprising; and haunting.
As the play begins with her, and so it will end, so stands Pearl (Shannon Matesky). Ms. Matesky’s spirited and sweet young woman is transformed before our eyes. From poor slave waif, to young confident woman bound for the North, her performance was rich with spirit and life. Pearl’s innocence was both uplifting and sweet as she moved from moment to moment. She embraced each moment of her circumstance as a great adventure, even as she took care of the woman who used to be her oppressor.
I thought the Set Design (James Schuette) and the Lighting Design (James F Ingalls) were superb. The gray mud washed interiors and the haunting dim foggy rivers were so real and set the tone so well.
And certainly, Mr. Frank Galati’s adaptation and direction were right on the mark. Not having read “The March”, as I am assuming most theater goers will not have read either, I believe this adaptation brings to life the essentials of the story we need to understand for this performance. Keeping the direction simple with strong movements on and off stage, we got to really listen to the characters in the quiet moments of civil war.
“The March” has a spirit likes it title: Strong, deliberate, confident. It may be long for some; but come prepared to take a well-traveled journey into the mind of a General and into the hearts of those that stand in his way.
“The March” continues at Steppenwolf Theater through 10 June 2012.

Celebrating with Beer and Insults

By Lazlo Collins
In this day and age of television reality madness, The Factory Theater’s “White Trash Wedding and a Funeral” could be an episode for Bravo, right after “Hillbilly Handfishing”. Because this type of extreme dysfunctional family farce is played out on the small screen daily, this time around it may be less funny then originally written in 1995.
The stereotypes, the drunkenness, the language while always a bit shocking at first, wears thin in this fast passed, no holds barred, parody of life anywhere else than where YOU live.
The magic happens at the local VFW hall, where the wedding will take place. As the belching and farting begin, the insults are fast and furious with no one spared by cupid’s drunken arrow, or your neighbor’s barbed tongue.
This 70 minute, no intermission, ensemble piece starts out at the gate and never lets up. Whether uncomfortable grin or rolling eye chuckle, I did smile the whole time. It is not as inspirational, as it a pageant of dysfunction unfolding right in front of you. But I think that is exactly the point of this in your face farce.
The overall high energy and cast chemistry make the most of the dated script. Some notable comedy stand outs were Timothy Amos as “Walt”, Robyn Coffin as “Aunt Shirley”, Jordan Hoisington as “Lonnie”, Shannon O’Neill as “Connie” and the perennial drag favorite Ed Jones as “Bernice”.
Director Scott OKen keeps the cast hopping through crisis after crisis, and while this may not be everyone’s cup of tea, or should I say, can of beer; there are some genuine laughs. Anytime anyone got hit or punched, the sound effect behind the bar made me laugh. And not being a fan of the chicken dance myself, I enjoyed the idea of someone actually dying from doing the dance too much.
I appreciate the announcement before the show, warning any unsuspecting patron that this will not be a high cultural experience; but rather, a no holds bar reality show romp. Have a beer or two while you are there, it will surely help you get in the mood for a wedding and funeral all in one night.
“White Trash Wedding and a Funeral” runs through 2 June 2012 at the Prop Theater. Thefactorytheater.com or 866-811-4111 for tickets.

It’s the Journey, Not the Destination at Collaboration

By Lazlo Collins
Collaboraction’s “Sixty Miles to Silver Lake” takes the audience on an 80 minute drive with son Denny (Ethan Dubin,) and father Ky (Sean Bolger). What is unique about this particular drive is this memory play’s approach to the material and dialogue. The ambient sounds of the road and the visual images surrounding the set help keep this simple story in focus. The divorced father picking up his son from soccer and bringing him home is duplicated hundreds of times all over the globe. As the ride goes on, we get a sense of the strained relationship of the two gentlemen.
Both roles were excellently played by Mr. Bolger, as the father; and Mr. Dubin as the son. Their banter, while seated in the car, was realistic; complete with all the fighting and

ncomfortable moments when forced to be in the car with your parent. Under the well done direction of Sarah Moeller, their immediate energy was excellent and you could sense they were comfortable with each other as actors, while they took the script through its twists and turns. I felt that they were really listening to each other and not just “acting”. I enjoyed both characterizations; despite the fact the father would not be one of my favorite people in real life. And kudos to you Mr. Bolger for making me like you in the end.
It’s the normal chatter between parent and child; but wait, as the engine roars so do the arguments and opinions. Is the mother to blame? Is the father not listening? Is the son both curious and disgusted by his parents?
Exploring these questions within the theme of the play can be difficult. The story seemed to move forward, then move back; from bright to dark and so on. At times, this exemplified the conflict and unrest; but at other times the choppiness of the dialogue muddled the simple story. I realize that the play’s construction was a calculated construct to keep guessing, but also keeping us informed. Somehow it took away from the emotional impact of the play. While Dan LeFranc’s script seemed real, the characters breathed life into this simple story.
The designers did a stunning job at creating the car and its surroundings. The video and sound designs were superb and should be considered characters themselves as they continually surrounded the actors. I could not imagine this play without these elements.
“Sixty Miles to Silver Lake” was a mostly satisfying drive; but, at times, I wanted to get out and stretch my legs. Perhaps it was the inherent comfortableness between father, son, and circumstance that made the ride a bit long for me. But maybe that is what the author set out to highlight and observe.
Without giving anything away, I will say that when the characters got out of the car at the end, it was distracting and completely took me out of the drive. The final scene would have served me much better as a memory on film that I might remember and smile; instead it seemed hokey.

But like all scenic tours, it is up to us what we view out our window, and what we remember from the ride. I recommend you go the distance on your “Sixty Miles to Silver Lake” and see where your memory takes you.
“Sixty Miles to Silver Lake” runs through 27 May 2012 at Collaboration. At the Flat Iron Arts Building, 1579 N Milwaukee Ave. 312-226-9633 or collaboraction.org

COURT THEATRE SOARS WITH ANGELS IN AMERICA

“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

Camino Real Causes a Stir at Goodman