Reviews Category
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
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.
Read MoreAn 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.
Read MoreMagic, Clowns, and a Fiery Tragedy for Christmas
The Ruffians present Burning Blue Beard
When you see Burning Blue Beard at Theatre Wit, you’ll notice it is more like entering an amusement park ride than seeing a play. The Ruffians, who present the play, do a wonderful job of creating an environment for the audience to exist in as part of the story. Every moving part of the production adds to the whole, including you as the observer.
Burning Blue Beard is a play about a play….about a play. The show presents an absurdist retelling of how the Iroquois Theatre burned down in Chicago in 1903 during a showing of Mr. Bluebeard, a Christmas Pantomime. Much of the detail from the play is straight from history as the true events provide plenty of emotional fuel to motivate the characters on stage. The players and ghosts from that terrible night in 1903 on Randolph Street can’t help but keep trying to get it right, but every time the show seems to end in flames. Perhaps during the performance you see of Burning Blue Beard the ending will be a happy one. Hope is a big part of this tale.
Read MoreThe Grandaddy of Them All!
A Christmas Carol – Goodman Theatre
This show is it. This is what Christmas is all about in Chicago. The Grandaddy of all holiday productions, and the show that every other Christmas Carol aspires to be has opened for the 36th year at the Goodman. And it is sensational! It’s eloquent, heartwarming and a feast for the eyes, the ears and the soul. The themes from Dickens’ novella and the lessons he taught aren’t diluted here by raucous musical numbers, Star Trek characters or dancing turkey boys. This is the production that would’ve made Charles Dickens proud.
Festivities with Figgy Pudding!
A Very Merry Madrigal
As we draw closer to Christmas, Hanukkah and Kwanza, the fast-approaching holiday trifecta can take a lot out of us right about now. All the shopping, decorating and holiday parties make it a nonstop season of frenzy that doesn’t stop until January 1st. But an hour spent at the No Exit Cafe will offer a pleasurable respite from all the holiday hustle and bustle, providing some beautifully sung music, a delicious meal or sweet treats and some laughs to recharge your battery.
Directed and compiled by David Heimann, with musical direction by Aaron Benham and Jeremy Ramey (who also provides superb piano accompaniment), this concert is more in keeping with the company’s “cabaret” label, but with a definite Renaissance Faire feel. As you enter the intimate coffee house, ensemble member Sarah Grant (as the company’s court jester) gleefully announces to everyone your name and the kingdom from which you hail. As the lights darken, amiable innkeeper Tom Chiola selects two audience members to serve as King and Queen of the hour’s festivities, and permission is sought from these two crown-wearing patrons for the events to come.
Mr. Heimann’s six-member ensemble of medieval-clad performers delight with songs and poetry from every era. Opening with the traditional “Wassail, Wassail” (during which warm spiced cider is provided to every audience member), toasts are offered, cheer is given and winter’s chill soon melts away. Delicious six-part harmonies infuse a medley of Olde English carols, a welcome beginning to this ultimately eclectic confection of music. Gilbert & Sullivan’s “A Very Merry Madrigal” delights and segues into more period songs and poetry until the ensemble announces a tribute to winter. Irving Berlin’s “Snow” and a wonderfully simple, heartfelt recitation by cast member Greg Foster of Frost’s “Stopping By Woods” make up this section of auditory treats. Then, as the entire company sings their “Dessert Medley,” the audience is treated to a complimentary bowl of figgy pudding, offering additional sensory delight to the song.
The second half of the program is a mixture of the classical and contemporary. Songs like Anne Murray’s “Snowbird,” beautifully sung by Missy Aguilar, “Turkey Lurkey Time” from Burt Bacharach’s musical “Promises, Promises,” sung by Sarah Grant, a sexy “Santa Baby,” purred to perfection by lovely Molly Kral, and “Winter/The River,” beautifully and sensitively crooned by Andrew Sickel and Greg Foster provides variety to the styles of music. Heimann returns to more traditional madrigal harmonies as he closes his show, but he saves a funny, delectably performed “Christmas Can-Can,” for the finale. In this number every holiday celebrated at this time of the year is represented, including those oft-heard complaints about how every year they start earlier and earlier.
It’s an intimate production, with performers not only using the stage but frequently wandering through the audience as they sing. While the variety of songs sounds strange, the effect is “something for everyone” and, as presented, add up to a very pleasant evening of unique holiday music audiences won’t hear everywhere. Combined with this cast’s genuine good humor and friendliness, Theo Ubique offers a winning and welcome break to the usual holiday hullabaloo.
Recommended
Reviewed by Colin Douglas
Presented Nov. 23-Dec. 22 by Theo Ubique Cabaret Theatre at the No Exit Cafe, in Rogers Park, 6970 N. Glenwood Ave.
Tickets are available by calling 800-595-4849 or by visiting www.theo-u.com.
Additional information about this and other area productions can be found at www.theatreinchicago.com.
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