Redemption through Theatre

Our Country’s Good – Shattered Globe

It’s been argued that theatre can be a humanizing force, for the audience but especially for its participants. Timberlake Wertenbaker’s 1990 play, based on Australian Thomas Keneally’s novel, The Playmaker, depicts the origins of Western civilization in Australia. During the 1780’s England began deporting its criminals, accompanied by a crew of Royal Marines, to a newly established penal colony in far off Sidney Bay, Australia. Ms. Wertenbaker’s play, inspired by journal accounts by the actual officers on this voyage, tells how Royal Governor Arthur Phillip appointed 2nd Lieutenant Ralph Clark to stage a play using some of the convicts, with the hopes that such an experience would civilize and rehabilitate these crude, violent men and women.

Back to the Golden Era

Mr. Shaw Goes to Hollywood

George Bernard Shaw and his lovely wife Charlotte have decided to stop at Hollywood’s MGM Studios for a luncheon meeting as part of their 1933 round-the-world tour. The day was apparently fraught with all kinds of difficulties, from their emergency airplane landing on Malibu Beach, hitching a harrowing ride with a young UCLA student and exchanging barbs, zingers and clever witticisms with John Barrymore, Ann Harding and Louis B. Mayer. The luncheon, hosted by William Randolph Hearst and his young actress/mistress Marion Davies, also included Clark Gable and Charlie Chaplin but neglected Shaw’s dietary requirements. GBS was a strict vegetarian and Miss Davies was hard-pressed to find a vegetable anywhere on the MGM lot; however, even though it was during Prohibition, there was plenty of bootleg booze flowing throughout the day.

Out of the Mouths of Babes

The Children’s Hour – Pride films and plays

Kids should be believed unconditionally if and when they confide secrets to the adults they trust, right? In what would become her first hit play, Lillian Hellman examines the tragedy that results from a devastating secret and the subsequent gossip that follows. Ultimately it’s revealed that this secret is nothing more than a vindictive lie, but by then the damage has become irreversible.

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?