Chicago Theatre Review
Shout – Marriott Theatre
Shout! At the Marriott Theater in Lincolnshire
Directed and choreographed by Rachel Rockwell
Runs June 24-August 14
Marriott re-conceives Shout! with top
-notch vocals and dynamite dancing
By Darcy Rose Coussens
The Marriott Theater in Lincolnshire has long maintained a reputation of excellence, and Shout! does not disappoint. The groovy, sparkly set is gorgeous but simple, of course allowing visibility from all four sides. The characters are unnamed, but the five singers develop their own personalities throughout the show, somewhat reminiscent of Donna and the Dynamos in Mamma Mia. It’s like taking the best song and dance numbers from musicals and putting them all together without worrying about a story. This re-conceived version is definitely a hit. Audience members loved the renditions of familiar tunes, and the show was a blast of pure fun.
The beginning feels a little aimless, since the audience does not know what to expect and the singers perform one song after another without a plot. However, soon it really gets going with some especially outstanding vocal performances by Carey Anderson and Jessie Mueller. The five singers jam to arrangements of favorite hits like “Downtown” and “These Boots Were Made for Walking”.
What stands out most is the exceptional dancing. Although the different singers and dancers seem a bit disjointed at first (the singers only sing, the dancers only dance), it quickly becomes clear that this separation allows the dancers to do much more than is possible in a typical musical. The dances are extremely impressive and include many styles. Several are short vignettes that interpret the lyrics of the singers’ songs. I found myself wishing for more dancing because it adds so much to what would otherwise basically have been a concert. The men are excellent partners, and stand-out numbers like the “James Bond theme,” “Son of a Preacher Man,” and “Puppet On a String” include plenty of risky lifts made to look effortless.
Shout! is funny, upbeat, and extremely entertaining. The many costumes are glitzy and stylized to the songs. All of the performers have lots of stamina for 90 minutes of song and dance without intermission, and the choreography is especially commendable. With plenty of hair-flipping and sass, this is a high-energy show that will have you dying to get out of your seat by the rendition of “Shout” at the end!
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Shout! At the Marriott Theater in Lincolnshire
Directed and choreographed by Rachel Rockwell
Runs June 24-August 14
Marriott re-conceives Shout! with top-notch vocals and dynamite dancing
By Darcy Rose Coussens
The Marriott Theater in Lincolnshire has long maintained a reputation of excellence, and Shout! does not disappoint. The groovy, sparkly set is gorgeous but simple, of course allowing visibility from all four sides. The characters are unnamed, but the five singers develop their own personalities throughout the show, somewhat reminiscent of Donna and the Dynamos in Mamma Mia. It’s like taking the best song and dance numbers from musicals and putting them all together without worrying about a story. This re-conceived version is definitely a hit. Audience members loved the renditions of familiar tunes, and the show was a blast of pure fun.
The beginning feels a little aimless, since the audience does not know what to expect and the singers perform one song after another without a plot. However, soon it really gets going with some especially outstanding vocal performances by Carey Anderson and Jessie Mueller. The five singers jam to arrangements of favorite hits like “Downtown” and “These Boots Were Made for Walking”.
What stands out most is the exceptional dancing. Although the different singers and dancers seem a bit disjointed at first (the singers only sing, the dancers only dance), it quickly becomes clear that this separation allows the dancers to do much more than is possible in a typical musical. The dances are extremely impressive and include many styles. Several are short vignettes that interpret the lyrics of the singers’ songs. I found myself wishing for more dancing because it adds so much to what would otherwise basically have been a concert. The men are excellent partners, and stand-out numbers like the “James Bond theme,” “Son of a Preacher Man,” and “Puppet On a String” include plenty of risky lifts made to look effortless.
Shout! is funny, upbeat, and extremely entertaining. The many costumes are glitzy and stylized to the songs. All of the performers have lots of stamina for 90 minutes of song and dance without intermission, and the choreography is especially commendable. With plenty of hair-flipping and sass, this is a high-energy show that will have you dying to get out of your seat by the rendition of “Shout” at the end!
Path:
Cherry Orchard – Raven Theatre
The close of Raven Theatre’s 2011 series ended without the bang one would anticipate, judging by the stellar roster of productions. While their season opener, Tennessee William’s powerhouse “Cat on a Hot Tin Roof” received bold acclaim for its tight ensemble mechanics, Chekhov’s “The Cherry Orchard” unfortunately doesn’t live up. While indeed there were glimpses of promise in the production—the set design and lighting were inspired— the actual performance, what the audience really pays to see, doesn’t really pay off.
Set in Russia just after the turn of the 20th century, the ancestral home and sweeping cherry orchards of matriarch Lyubov Andreyevna Ranevskaya’s is in foreclosure. Seemingly unable to rein in spending, the family must decide how to proceed—to save their beloved home and orchard or fall victim to their dwindling bank accounts and bad sense. The pickings are ripe for exceptional drama, though in the hands of director Michael Menendian, the production withers.
Maybe it’s the translation, this one by Jean-Claude van Itallie, maybe it’s the direction, but mostly, it’s the cast. The actors played too much on the nose to do one of Chekhov’s most beloved and poignant plays any real service. The play is broadly acted, and rather than focusing on the subtle delivery of lines, most players pushed through them, almost spiting them out, itching it seemed, to get on with it, and after the first act I wished they would. Between the abundance of direct address to the audience instead of each other and focus on characters eccentricities instead of attention to their ethos, there wasn’t much to rave about.
Still, the evening wasn’t all for naught. Performances by Liz Fletcher as Charlotta Ivanovna, Kelli Strickland as Dunyasha and Michael Morgan Peters as tutor Trofimov, shone through the rest.
The show runs now through July 23rd 2011 at the Raven Theatre, 6157 N. Clark St, Chicago.
Reviewed by: Elisa Karbin
Lookingglass wins Tony
Congratulations to the Lookingglass Theatre Company on the 2011 Tony Award for Best Regional Theatre.
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