“A Sweet Tale of Pathos and Players” at the Raven Theatre

By Lazlo Collins
The tone of “Bang the Drum Slowly” is jubilant and somber at the same time. It is one of those sports stories that unite us all, whether we enjoy sports or not. Everyone can relate to the underdog, the man that is different to us; and yet, when faced to see our own immortality in his eyes; we must embrace him or deny ourselves our sense of compassion.
This capable and thoroughly satisfying drama, at The Raven Theatre Company, brings the longing of a simpler time to the audience. It also brings the well told story of one man’s extraordinary aid in helping another.
This story of a baseball team’s rise to prominence with all the dues paid through loss, commitment and barriers destroyed.
Leading us through this journey is Michael Stegall as “Author” Wiggen. He greets us with a slice of apple pie grin and good cheer from the very start. He keeps the energy and pace alive with his team’s manipulation and leadership. His performance of ultimate do-gooder may have gotten away from him; but Mr. Stegall keeps us with him throughout his ultimately emotional journey. He sinks into his character nicely in the second act, becoming more genuine as the play continues.
As the doomed baseball catcher, “Bruce Pearson”, Kevin Duvall does an excellent job of outsider very well. His awkwardness is apparent through every scene. Even when he has been fully indoctrinated in the team shenanigans; he is still not completely comfortable with his team mates. I am not sure I was convinced of a debilitating disease at times, but I let myself be taken over by the story and by the interpretations of Mr. Duvall. This is difficult role to embrace. Never wanting to seem too pathetic, and at the same time, wanting the audience to cheer with him.
The rest of the acting team plays well and supports the story with great enthusiasm. What was one of the more difficult scenes was played so well and so believable. The scene was the celebration where all the players get drunk. The toasts, the drinks, the laughs all end in more of the more realistic inebriations I can think of to date. It is just the right amount of tension and beer for a lovely, realistically well done moment for the ensemble.
Some of the players take on multiple roles throughout the show. Jason Love, Jonathan Nichols, Jen Short, Dan Toot, Kristen Williams, and especially, the excellent Joshua J Volkers are successful and keep the characters distinct and believable.
Last, but certainly not least is Tim Walsh as “Dutch Schnell”. Mr. Walsh’s performance was a complete home run. His brash team coach stood out among the crowd. His character was never too shrill or overbearing. His many interrogations into the whereabouts and whys of his southern catcher can only be described as brilliant. He keeps it comedic without being too muggy or overwrought. Mr. Walsh was excellent and kept the energy of the show white hot. Congratulations on such a winning performance.
With a simple but functional set design (Andrei Onegin) and great mood making lighting (Kurt Ottinger), this duo hits it out of the park. I must mention the great use of sound by Peter Storm; essential to the story for a job well done.
With the excellent direction of Michael Menendian “Bang the Drum Slowly” touches us with thoughts of our own mortality and may how we treat those around us.
“Bang the Drum Slowly” runs through 30 June 2012 at The Raven Theatre. For tickets call 773-338-2177 or www.raventheatre.com

Joan’s Laughter Is Intensely Surprising

By Lazlo Collins
“Joan’s Laughter” now playing through 17 June 2012 at Side Project Theatre in Rogers Park is the kind of show that is all at once intense, with an engaging finish, that will leave you saying, “I should have seen THAT coming!”
It is the last night before Joan of Arc is to be burned at the stake. She was only 19 years old. History tells us she saw visions and was martyred as a lunatic and false prophet. 25 Years later they decided, okay, maybe she did see the visions and have France’s best interest in mind. She became a saint.
Joan of Arc has remained a significant figure in western culture through various films and theatrical productions. Side Project has brought her back again, this time to explore the night before her execution.
The brutality of the age, not to mention what she had to endure from the men that considered her a threat to them and their country, makes this 75 minute play a rough journey.
There was a lot of yelling and fighting going on most of the show. The desperation of her position seemed anticlimactic because we already know what the ultimate outcome will be. No one can, or wants to help her understand her last hours on earth. The clergy are only interested in making sure she confessed that her visions are all lies and she is hysterical. Joan herself takes the audience on a ride of conviction, and we see the fight in her about wanting to be saved.
This play brings up many ideas about what is real to her and what is not. SPOILER ALERT: I liked being lulled into the story, unaware of The Sixth Sense style revelation that comes later. It really took me by surprise.
Meredith Rae Lyon’s deep emotional dedication to this part definitely rang true. She was Joan and her commitment to the role gives her credibility. Although I thought much of the interactions were all at the same overwrought level. I enjoyed the quiet moments of introspection that received more pathos from this viewer. Ms. Lyon’s gave a valiant attempt with a script that seemed not too flushed out.
I also enjoyed Ron Wells as “Ladvenu”, who tries in his own way to get her to confess so her soul will be saved. He was believable and with just the right amount of intensity.
Jeannie Affelder as the “Nun” gave a solid performance as Joan’s helper and ultimately her reliance as a visionary and saint.
“The Guards” seem a bit too intense, playing it for the anger then for the understanding of their position and relationship with Joan.
The perfect set and costumes for this piece were a nice compliment to the space and direction.
For those theater goers who enjoy a historical, intense, snippet from history, this has your name all over it. But with Joan’s name on this production, it is all her. Prayerful, repentant, and challenged she moves through the play with blinding rage at all those in her ken. But it will be up to you to go figure, which figure, is truly with Joan till the very end.

The Dr. Will See You Now, With Stellar Results.

By Lazlo Collins
The loveliness of “Freud’s Last Session”, now playing at the Mercury Theater, is not only revealed through the splendid writing, but also with the amazing performances of the two fine actors in its grasp. In this new launch with Mike Nussbaum as Sigmund Freud and Coburn Goss as C. S. Lewis, these are performances of the highest caliber.
It is the very day that Britain will enter the war on 3 Sept. 1939 and Dr. Freud has agreed to entertain one C. S. Lewis. At this juncture, Freud is ending a brilliant career, while Mr. Lewis is just coming up on his own notoriety.
C. S. Lewis made the conversion to theism and, of course, Dr. Freud was the founder of psychoanalysis, who gave little credence to religion. With their views securely intact, with their ages in opposition too; the gentlemen talk, spar, and search to find meaning in each other’s opinions and theories.
This 90 minute conversation reveals the lives of these two men through a script that is both heavily informational and lightly playful. Their careful interactions and choices for words, finds these two literary powerhouses challenging themselves, as well as each other with their own beliefs and philosophies.
Mr. Nussbaum’s portrayal of Dr. Freud is amazing. He commands the stage with his presence and demeanor. His mannerisms and timing were impeccable. I felt his pain and his force when challenged with his beliefs and illness. (Dr. Freud suffered from an oral cancer ultimately taking his own life on 23 Sept. 1939) With his passion for his beliefs and softer side revealed during this lovely London meeting, Mr. Nussbaum brings Freud to life for theater goers to saver. I did not want this show to end.
Mr. Goss’s performance was no less stellar than that of his on stage partner. His polite, yet probing, meeting was perfect. His performance was understated and charming. A less capable actor would have reduced this role to a secondary one, but Mr. Goss matched the energy and nuance his role deserved. His insistence with Dr. Freud about his conversion was a tender and respectful; his compassion for a man dying was touching among uncertainty the war itself.
The speculation of whether these to literary persons ever met sparked the very writing of the play.
After seeing “Freud’s Last Session” it did not matter if they met or not, it was thrilling to see these two men deliberate about the core beliefs that guided them every day. The debate of whether God exists or not, will continue long past the closing of this short, satisfying theatrical conversation; but it will be the audiences pleasure to experience these debates through the minds of these real life characters.
I hope that among the spot on, comforting set of this show lays a copy of “The Chronicles of Narnia” and “The Ego and Id”. It would be a fitting tribute, but yet again, the writer (Mark St. Germain), Mr. Nussbaum and Mr. Goss have already done that.
Get off the couch and go see this theatrical jewel.
“Freud’s Last Session” runs through 15 July 2012 at the Mercury Theater. Call 773-325-1700 or go to www.mercurytheaterchicago.com

This “Rent” Is Due Your Full Attention.

By Lazlo Collins
I must disclose at the beginning of this review that I was never one of those super “Rent” fans. In 1996 when “Rent” was on Broadway, it was a SENSATION. It was a groundbreaking musical of the ages. Well, I got on board the “Rent” bus a bit late. Finally, when I went to see “Rent”, I enjoyed the music, I loved La Boehme, and it was great; it just wasn’t my favorite. I felt myself wanting to yell, “Stop whining and get a freakin’ job!” Wow, so judgmental, right?
I further must disclose that when I first saw “Rent”, I myself was losing someone I loved from AIDS, and that somehow I just wasn’t ready to embrace the musical’s messages and intricate relationships.
And here we are, at the American Theater Co. and About Face’s current collaboration of “Rent” directed by David Cromer and it moved me for the first time. I was ready to experience the story of love, art, and AIDS in a time of turmoil.
This high energy and gritty production hits the mark, and moves through the 90’s with all the force needed to sustain the story through its paces. While I am not sure that ALL the messages stand up through time; but the intentions of love, understanding, acceptance, and someone taken too soon are all themes that are explored beautifully in this production.
Kudos to Cromer for keeping the feel of a gritty warehouse or city street, placing the audience as if just spectators to the scenes unfolded in the profile style staging. It kept me searching the playing area for actors and action; but allowing for some fantastic staging in songs like, “Santa Fe”, “I’ll Cover You, reprise”, and “Finale A”.
The energy of the songs and the acting was immediate and in your face. I enjoyed each character as they moved through their own stories. The supporting ensemble cast was up to the task as well.
Roommates Mark Cohen (Alan Schmuckler) and Roger Davis (Derrick Trumbly) get the ball rolling with conviction and intensity in their respective roles. Mr. Schmuckler is a delight in his role as documentarian and smited boyfriend. He is sweet and loyal, while his character grows throughout the show. Mr. Trumbly grew on me as his character discovers his own voice after the discovery of HIV. Both voices were excellent.
The shows happenstance couple Tom Collins (Alex Agard) and Angel Dumott Schunard (Esteban Andres Cruz) proves love is alive in the time AIDS. Well sung and acted too, I might add. I enjoyed each man’s energy. I especially enjoyed Mr. Cruz’s more real approach to Angel. It was refreshing to see this character as a real person, and not just a man in drag acting like a girl.
The playful couple of Joanne Jefferson (Lili-Anne Brown) and Maureen Johnson (Aileen May) are as opposite as they may be. Both are talented singers and actresses. I loved Ms. Brown’s warm voice and sweet smile. Ms. May exudes a confidence necessary for her bravado character. Her conviction in Over the Moon” was especially good. Ms. Brown shows her skills on the duet with Mark Cohen in “Tango: Maureen”
As Roger’s love interest, Mimi Marquez (Grace Gealey) comes on strong as brash misunderstood femme fatale. Ms. Gaeley puts in a well-played performance. I really enjoyed her naïve moments, that were street smart but emotionally immature. Her role is unforgiving in its predictability. I thought she played the character with believability; not to mention pleasing vocals.
I was really struck by the great acting in this production. The acting combined with the singing was believable, isn’t that the point anyway? At very particular times, the vocals seemed strained; while the quieter moments of the music seemed more successful for the audience. It seems they will need to tweak there sound amplification system to maximize the vocals. I was on the other side of the house from the band and sometimes they were too loud. This is an easy adjustment that will only improve what is a pleasant soundtrack.
Congratulations to the artistic design crew. Collette Pollard‘s warehouse set, with simple, but well placed graffiti, and Christmas décor is perfect. Lighting designer Heather Gilbert put lights everywhere, but kept the mood mysterious and somber. David Hyman’s costumes were superb. I LOVED the dirty, ripped, but appropriately ragged costumes for the main characters. Angel’s “holiday outfit” was an appropriate homage to the original costume, but with a more real, gritty feel.
I would be remiss without mentioning the band. The pit was alive with many layers of sound and fury; seemingly like far more instruments than actually on the premises. Thanks for making the music great.
And finally, Mr. Cromer brings experience and style to this production. This is a difficult undertaking and is overall a success. He deconstructs the observational pop of the original production, and brings us more ‘in-to” the story as it is happening, as if it happening to us all over again. Taking us back to the ‘90’s, with the loss, the love, and the music the stage will NEVER forget.
“Rent” runs through 17 June 2012 at the American Theater Company, 1909 W Byron in Chicago. For tickets call 773-409-4125 or go to www.atcweb.org

Photo Credit: Michael Brosilow

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