Portrait of the Con Artist as a Young Man

Catch Me if You Can

In a year that saw such impressive Broadway productions as “Sister Act,”  new revivals of “How to Succeed in Business Without Really Trying” and “Anything Goes,” “The Scottsboro Boys,” and the mega hit, “Book of Mormon,” a charming, splashy musical (based on Steven Spielberg’s 2002 bio-pic of the same name) just couldn’t hold up to the competition. In a less impressive season, this musical might’ve earned more, well-deserved theatrical accolades. That’s not to say, however, that this is an inferior show.

Let the Mirror Balls Drop

Amidst a profusion of sequins, marabou and mylar the ensemble of this cotton candy of a musical guarantees to dazzle and delight audiences of every age, gender and persuasion. It’s just plain fun and, boy, do we ever need this dose of eye-popping, over-the-top beguilement right now. Simon Philips has directed a wildly energetic musical version of the 2011 Tony Award-winning production that was, in turn, based upon a 1994 film cult classic.

Soaring Beyond the Rooftops

Fiddler on the Roof

Jim Corti rings down the curtain of his second, highly successful season at Aurora’s beautiful Paramount Theatre with a robust, beautifully designed and professionally acted remounting of  yet another classic from Broadway’s Golden Age.  Joseph Stein’s dramatic adaptation of Sholem Aleichem’s stories about Tevye, a Jewish peasant milkman, his family, friends and neighbors, all trying to survive poverty, oppression and change in turn-of-the-century Russia, is one of the most often-produced and best-loved musicals of all time. Filled with beautiful music by Jerry Bock with lyrics by Sheldon Harnick, this show could simply be presented as written with confidence. But that’s not Mr. Corti’s style.

Chalk Up Another One for Promethean Theatre Ensemble

By Lazlo Collins

Recommended

The Promethean Theater Ensemble’s “The Caucasian Chalk Circle “is a visual and auditory delight! The baby is never thrown out with the bathwater in this inventive telling of this well-trod Bertolt Brecht classic.

With lovely original music by Matt Kahler moving the tale along; this classic tale of a government’s fall, a servant’s journey, and love reunited is high energy fun. Director Ed Rutherford’s clever staging and new vision keep this story relevant.

The play is as relevant today as when it was written in 1944. Keeping all the socially relevant aspects, but keep the action moving was a great move for director and company. This is the story of an abandoned child of the wealthy rulers who is raised by a servant on the run. Ultimately, through time and troubles, the now toddler is brought to the court to determine who’s

child it REALLY is (or should be). Is it the one who bore the child, or the one who brought up the child? The results will “tug” at your heartstrings.

A strong beginning and pleasant thread through the play was the likeable Cary Davenport as the Lead Singer. He has a lovely voice and gets the ball rolling and keeps things moving.

The talented cast of young energy and commitment was impressive. I loved the multi-player and multi orchestral aspect of the show. I was impressed with the acting and the musicianship that was displayed throughout the show.

Sara Gorsky as “Grusha” was an exceptional stand out. With a just a few moments to breathe throughout the show, Ms. Gorsky moves through her songs and story with ease and admirable commitment.

Also, Teddy Lance as “Azdak” was another high energy stand out. His delivery of the judge and other characters was unique. His tongue twisting prose kept me engaged during his turn on stage. His confidence was palpable.

“Corporal”, Alex Mauney, was great to watch and fear.

All the designers of the show should be very happy with all their efforts. The puppetry, props, and set design worked well. The wall of goods was especially effective. My kudos to the actors on opening night who improvised a hilarious bit of replacing a coffee pot that had fallen off the wall; well done.

Although the show moved swiftly and with high energy, the second act feels a little slow. I hope this cast keeps up the pace throughout the run of this sweet inventive offering from Promethean.

“The Caucasian Chalk Circle” runs through 9 February 2012 at City Lit Theater Space. For tickets go to www.brownpapertickets.com or call 1-800-838-3006.

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

The Millionairess

A Hit from the Heart

‘The Rocky Horror Show’… A Theatrical One-Night Stand!

By Cat Wilson

If you are at all familiar with the original musical, or the 1975 film adaptation, you know that there is absolutely nothing like ‘The Rocky Horror Show’, music, book, and lyrics by Richard O’Brien. This is a show designed to have full audience participation where you are instructed to yell out certain responses to frequently repeated lines, hold a mustache up to your nose when the narrator speaks, or even throw items at the stage at certain times. If you are new, it definitely helps to go with a buddy who knows the drill, however you will also be provided with a guide, or you can always follow everyone around you.

Scent of Edna

By Kayland Smyth

LiveWire Chicago Theatre is starting off their 2012-2013 season with the Chicago premiere of THE MISTAKES MADELINE MADE. This wildly funny story of love and dirty people was written by creator and writer of the new hit FOX sitcom New Girl and Heddatron Elizabeth Meriwether and directed by LiveWire member Krista D’Agostino.
THE MISTAKES MADELINE MADE tells the story of Edna (Hilary Williams) a personal assistant who develops Ablutophobia, the fear of bathing. Struggling with her job and the unexpected loss of her brother, Buddy (Joel Ewing). She wages a furious and funny war against all things complacent, pampered and clean. As Edna’s smell starts to overwhelm her co-works, Beth (Krista Collins) and Wilson (Chris Zdenk), and many casual lovers, Drake, Blake and Jake (all played by Fred Geyer), the play raises the questions: is dirty living a political act? And is clean living even possible in these times of unrest.
There were a few things that I liked about this production. First, I liked the scenes that showed the interactions between Edna and Buddy. They showed that the two had a very tight and close bond, later giving a better understanding of the effect Buddy’s death had on Edna. And I found it interesting that the two siblings developed the same phobia due to similar causes. Second, I loved the character of Wilson, his crazy antics made for a great comedy release after intense scenes. I also loved the cast; I felt that they did a great job at bringing the characters to life. And lastly I like the use of the scrim (transparent stage curtain) where we could see Buddy working on his writing while sitting in Edna’s bathtub. It was something that quickly caught my eye and took me back to a theatre I took in college.
I would strongly recommend this play to the theatre goers who enjoy a good dramedy (drama and comedy).
THE MISTAKES MADELINE MADE runs October 3, 2012 November 3, 2012 at Greenhouse Theatre Center Upstairs Studio, 2257 N Lincoln Ave, Chicago. Performances run Thursday through Saturday at 8:00p and Sundays at 3:00p. Tickets are $20 online at www.greenhousetheater.com.

Sunday in the Park with Shakespeare Theater

Sunday in the Park with George
By Colin Douglas

“Art isn’t easy.” This deceptively simple statement of the obvious is the single lyric from Stephen Sondheim/James Lapine’s multi award-winning score that crystalizes the essence of their 1985 Pulitzer Prize winning musical. For those unfamiliar with the piece, the musical fictionalizes the life of French Pointillist Georges Seurat, and was inspired by the artist’s towering masterpiece, “A Sunday Afternoon on the Island of La Grande Jatte.” Indeed, the musical, which focuses primarily on Seurat’s greatest creation, also examines the painter’s isolated, singleminded dedication to his art as well as its effect on those around him.

This musical sparkles with color, comedy and compassion speaking to audiences through very recognizable images and situations. Sondheim reduces the nature of creativity to its basic elements finding parallels between art and ardor. Prolific CST director Gary Griffin, who’s become Chicago’s go-to director for Sondheim’s musicals, follows his last year’s triumph, “Follies” (and a previous production of this very musical) with an emotional interpretation of this often controversial piece. Like Sondheim’s fairy tale-based “Into the Woods,” audiences sometimes view the musical’s two acts as separate plays. But, especially i

n the way Griffin has crafted this very personal production, collaborating with talented scenic artist Kevin Depinet, projection and lighting designers Mike Tutaj and Philip S. Rosenberg and costumer Mara Blumenfeld, the story of Seurat’s 1884 creation smoothly melds into Act II’s tale of a modern-day artist facing the same problems as his Great-Grandfather. The result is a well-balanced production in which the acts complement each other.

And Griffin’s company of actors are all top notch talents. Broadway’s Jason Danieley (“Curtains,” “The Full Monty”) plays both Georges with passion and sensitivity caressing each note and lyric with his beautifully rich baritone voice. Carmen Cusack (“Carrie,” “South Pacific”) is equally captivating as Dot, Georges’ spunky mistress, and Marie, George’s wise grandmother, singing with such clarity and range that audiences will forget anyone else in this role. A talented ensemble that includes Linda Stephens, Ora Jones, Heidi Kettenring, McKinley Carter, Sean Fortunato, Kevin Gudahl, Travis Taylor and many others, accompanied by Brad Haak’s lush, 11-member orchestra, propel this production to the top of Chicago’s must-see list for this Fall.

Runs through November 4
Chicago Shakespeare Theater 800 E. Grand Avenue
Tickets – 312-595-5600
www.chicagoshakes.com