PicksInSix Review: Guys and Dolls - Drury Lane Theatre

Shake the Dice. Save a Soul!
PicksInSix® Review | Ed Tracy

Looking for the oldest established permanent floating crap game in New York with tough guys packing heat and cracking wise while a couple of old-time love stories unwind in locales as exotic as Havanna and the Hot Box Club? If so, then, the rock’em sock’em revival of the 1950 Tony Award winning “Guys and Dolls” now playing at Drury Lane Oakbrook is the show for you.  

Director/choreographer Dan Knechtges with co-music directors Roberta Duchak and Chris Sargent, who also conducts, have assembled an impressive ensemble of multi-talented performers for a highly-charged production showcasing the most cherished music and lyrics of Broadway’s legendary songsmith Frank Loesser and a book by Jo Swerling and Abe Burrows based on Daymon Runyon’s stories and characters. The cavalcade of Loesser hits like the touching ballads “I’ll Know” and “More I Cannot Wish You,” the superb bigtime, song and dance spectacles “A Bushel and a Peck,” “Luck be a Lady,” and “Sit Down You’re Rocking the Boat,” make Drury Lane’s “Guys and Dolls” a musical extravaganza that pokes good-natured fun of the rough and tough guys and the glitzy glamor dolls from Runyon’s creative imagination.

As the story unfolds, the lovable huckster Nathan Detroit (Jackson Evans) has been unofficially engaged for 14 years to the vivacious Miss Adelaide (Alanna Lovely), headliner at the Hot Box Club. Adelaide is trying to get him to stop gambling and settle down to the life she has imagined all along. Meanwhile, Detroit and his ‘associates” Nicely-Nicely (Nkrumah Gatling) and Benny (Christopher Llewyn Ramirez) are trying to get a spot for some nightly action and stay a step or two ahead of the law in the process.

Against the backdrop of petty larceny and bawdy late night revelry, the dutiful missionary Sarah Brown (Erica Stephan), struggling to make a difference one sinner at a time at the Save-A-Soul Mission, falls hard and fast for the suave, high-stakes charmer Sky Masterson (Pepe Nufrio). When the love table turns on Sky, he finds himself suddenly searching for any way to win her back again including making good on his mark to fill up the evening prayer meeting to impress the zany General Cartwright (Heidi Kettenring) and save the mission from closing.

Drury Lane Theatre presents “Guys and Dolls” through June 9, 2024. More information and tickets HERE.

Stephan and Nufrio are perfect together. Their rich vocals and chemistry shine in the heartfelt Act I closer “My Time of Day/I’ve Never Been in Love Before.” Stephan, one of Chicago’s top performers, is simply marvelous. Nufrio’s smooth and effortless Sky is spot on in “My Time of Day,” and with the brilliant ensemble in “Luck Be a Lady.” Lovely sparkles as Adelaide, displaying excellent comedic chops in “Adelaide’s Lament” and singing, dancing and leading the Hot Box Girls in a sizzling version of “Take Back Your Mink” while chumming up with Evans’s hilarious and heartwarming Nathan for lots of laughs and their touching duet “Sue Me.”

Back at the mission, Gene Weygandt’s serves up a splendid Arvide Abernathy, Kettenring is a riot and everybody gets in the act when Gatling explodes into the rousing crowd favorite “Sit Down You’re Rocking the Boat.” Angela Weber Miller’s scenic design, framed in a glistening Broadway skyline, alternates seamlessly between the relatively solemn confines of the mission to the gritty underbelly of the city and the sultry Hot Box Club where Leon Dobkowski’s stunning costumes set the place on fire. All in, Drury Lane’s “Guys and Dolls” is a night filled of 7’s and 11’s for every high stakes roller in the audience.  

PHOTO|Brett Beiner

Drury Lane Theatre
presents
Guys and Dolls
100 Drury Lane
Oakbrook Terrace
through June 9, 2024

WEBSITE

For more reviews, visit: Theatre In Chicago

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PicksInSix Review: BOOP! The Musical - Broadway in Chicago

“BOOP! The Musical” Has It All!
PicksInSix® Gold Review | Ed Tracy

When the stunning new show “BOOP! The Musical” arrives on Broadway next year, a new generation will discover the iconic Betty Boop through the spellbinding performance of Jasmine Amy Rogers in the title role, and through the eyes of one of their own—16 year-old pop media phenom Angelica Hale, making her stage debut as Betty’s new pint-sized BFF.  

At the magical moment that Betty catapults into present day Comicon from her cartoon world of the 1930s, she is searching to both escape the adulation of her own time and to satisfy her yearning to discover an answer to the pivotal question: “Who am I?” Upon arrival, she finds a vibrant world in the radiant colors of the rainbow, none of which she knows by name. She also has a predilection to put an ‘L’ in everything, so her new marshmallow world is “plurple.”

It's the black, white and red-hot opening sequence of “BOOP! The Musical” with Rogers as the charming, charismatic, and confident heroine created by illustrator, animator and cartoon innovator Max Fleischer who revolutionized the graphic technology of the day, merging illustrations and live action to create whimsical cartoon series and shorts featuring Betty Boop, Popeye and a cavalcade of quirky characters who morph from inanimate objects to all forms of comic incarnations.

The world premiere of “BOOP!” opened Wednesday at Chicago's CIBC Theatre. After years in development, there is now a dream team in place for the Broadway-bound project directed and choreographed by multi-Tony Award winner Jerry Mitchell, the first musical venture by Grammy and Emmy award-winning composer/producer David Foster with lyrics by Susan Birkenhead (“Jelly’s Last Jam”) and book by Bob Martin (“Drowsy Chaperone,” “Elf”). The creative team includes a spectacular scenic design by David Rockwell that is beautifully enhanced by Finn Ross’s projections and Gareth Owen’s sound design, Philip S. Rosenberg’s lighting and the stunning costumes of Greg Barnes.

With big, boisterous dance numbers, tender ballads, an extraordinary scenic landscape and masterful illusions courtesy of Skylar Fox, “BOOP!” has it all. It's a love story—three actually—but even more it’s a free-spirited and endearing comedy that has a message for all of us about who we are and the impact we can make on the world and the people in it.

At Comicon, Betty collides with Dwayne (Ainsley Melham) a jazz musician and for maybe the first time, Betty senses an attraction. Overcome by her new surroundings, Betty forges a friendship with Trisha (Hale) a young fan and aspiring artist in need of a little confidence of her own. It doesn't take long before we find that Trisha lives with her aunt Carol (Anastacia McCleskey), who serves as manager for the New York City mayoral campaign of Raymond Demerest (Erich Bergen) and Carol’s brother, who just happens to be Dwayne. The hook is set and a youthful love story begins to unfold.

Back in early 30s, the studio directors, Aubie Merrylees and Ricky Schroder, are in a tizzy when they discover that Betty is nowhere to be found. Grampy (Stephen DeRosa) realizes that Betty’s absence will have a disastrous impact on their present and the future, so he embarks on a cross-dimensional journey of his own with his dog Pudgy (the brilliant marionette artist Phillip Huber). In Times Square he meets up with Valentina (Faith Prince) a retired NASA scientist who is still holding a torch for Grampy that was lit 40 years earlier. At first on a quest to find Betty before it’s too late, Grampy discovers that the fire is still smoldering between the two.

The cat’s out of the bag on the secret that Betty Boop is now alive in the present when she shows up and brings the house down at Nellie’s Place, the jazz club where Dwayne is trying to get a regular gig. Once the news is public, the corrupt Demerest, the King of Waste, tries to hitch his dump truck, and whatever else he has at his disposal, to Betty’s instant celebrity. But it’s Betty who turns the tables on the plan and as always, love wins out overall.  

Martin’s book moves briskly and effortlessly with zingers and easter eggs, old and new, along the way. Musically, Foster has infused the score with a plethora of styles from jazz and pop to some socko Broadway show tunes that allow Mitchell a full range of dance routines for the superb, multi-talented ensemble. Among the highlights, Rogers leads the ensemble in the opening “A Little Versatility,” “My New York” and “In Color,” and the show is at full throttle for the truly sensational Act I closer “Where I Wanna Be.”

World Premiere of “BOOP ! The Musical” at Broadway in Chicago’s CIBC Theatre through December 24, 2023.

Price and DeRosa shine in “A Cure for Love” and the touching “Together, You and Me.” Melham joins Schroder and Probst for “Sunlight” and delivers a blissful “She Knocks Me Out.” Hale’s powerful “Portrait of Betty” is a smash and the lovely “My Hero” with Rogers is one of the show’s many highlights.

It all comes down to Rogers though, whose radiant stage presence is all at once inquisitive, vulnerable and decisive as she evolves to the real version of who she will become: a loving role model of strength and independence.

Rogers’s charismatic performance of “Something to Shout About” is a showstopper. After taking center stage surrounded by a glistening celestial panorama, she steps decisively and defiantly forward and, in that one moment, appears larger-than-life, captivating the audience and signaling the presence of a star.

That she is.  

PHOTO|Matthew Murphy and Evan Zimmerman

Broadway in Chicago
presents the
World Premiere of
BOOP! The Musical
CIBC Theatre
through December 24, 2023

TICKETS
SHOW WEBSITE

For more reviews, visit: Theatre In Chicago

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PicksInSix Review: The Wiz - Broadway in Chicago

“THIS IS A WHOLE ‘NOTHER LEVEL!”
PicksInSix® Review | Ed Tracy

The national tour of the Broadway-bound musical “The Wiz” opened its limited Chicago engagement at the Cadillac Palace on Wednesday with all the blissful promise and brilliant colors of the rainbow you could ever imagine. With a massive, techno-landscape—a marvel all in itself—the L. Frank Baum-based classic that made its groundbreaking 1974 debut in Baltimore and conquered Broadway the following year with eight nominations and seven Tony® Awards on the way to a four-year run, now comes vibrantly alive for a new generation.

“The Wiz” is ingeniously directed by Schele Williams with some clever choreography by JaQuel Knight that amplifies a superb company large in number and steeped with talent running through their paces at a size and scope rarely seen in a touring production. The show premiered in Baltimore in late September and is making a multi-city tour in advance of its scheduled debut on Broadway in March 2024 with a lot of professional steam behind the William F. Brown book with music and lyrics by Charlie Smalls.

The revival includes new musical moments from Joseph Joubert (music supervision, orchestrations, & music arrangements), vocal arrangements and music arrangements by Allen René Louis and additional material by Amber Ruffian. Nearly sixty producers and co-producers led by Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Kandi Burruss, Todd Tucker, Common, MC Lyte and The Ambassador Theatre Group are the team behind the curtain making this a feat of epic proportions.

Those elements work extremely well for “The Wiz” and are sure to be crowd-pleasers at every stop along the way. The tour will also allow time for the performance elements to coalesce for what is one of the most highly anticipated Broadway openings next spring—a straight-up adaptation focused squarely and beautifully on the central themes of friendship, family and home with just the right touch of panache—with all the right stuff to appeal to contemporary audiences of all ages. If you are a fan who knows this familiar, and much beloved, score that includes “Ease On Down The Road,” “If You Believe,” “Everybody Rejoice” and “Home” by heart, you will not be disappointed.  

Nichelle Lewis’s debut performance as Dorothy will be turning heads in the months to come with her charm, wholesome innocence with a little sass, and heavenly vocal range. Melody A. Betts is a powerhouse in the dual role of Aunt Em/Evillene. You will love the cohort of the remarkably limber Avery Wilson’s Scarecrow, the soulfully spirited Phillip Johnson Richardson’s Tinman and Kyle Ramar Freeman’s effervescent Lion. Alan Miongo, Jr. delights as the inimitable Wiz. The charismatic and glamorous Deborah Cox as Glinda, another superb vocalist, looks amazing in costume designer Sharen Davis’s creations.

The journey begins in Kansas, on a black and white tapestry by scenic designer Hannah Beachler. Once in the full color Land of Oz, the opulent scenic transitions race by at the speed of light through imaginative corn fields with tilted windmills, dark forests and a lion’s den in the jungle, to a stunning glimpse of the Emerald City. Once in Oz, the palate turns emerald and the majestic lighting design (Ryan J. O’Gara), sound design (Jon Weston) and projections (Daniel Brodie) continue to an awe-inspiring scene in Evillene’s lair for “Don’t Nobody Bring Me No Bad News” and Lewis’s soaring delivery of “Home” that will sweep you away and ease on down the road all the way to Broadway. No bad news here. 

Post Script: André De Shields
Earlier this week via text, I asked the original Wiz, the omnipresent André De Shields, if he would share a memorable highlight from the original 1974 production. He told me that during the run, the entire company was invited to a homecooked meal prepared by his mother and two of his sisters:  

“The group was so large, that it spilled out of my family’s modest two-story row house onto the 1800 block of Division Street. Forty-nine years later, in September 2023, the revival of “The Wiz” opened in Baltimore at the Hippodrome Theatre, during the same week that the 1800 block of Division Street was renamed ‘André De Shields Way.’”  

And in case you were wondering, the company feasted on everything from oyster fritters, steak fish and kidney stew to sweet potato pie and Chesapeake blue crabs, washed down with assorted flavors of Kool-Aid. et  

PHOTO|Jeremy Daniel

BROADWAY IN CHICAGO
presents
THE WIZ
Cadillac Palace Theatre
through December 10

WEBSITE
TICKETS
For more reviews, visit: Theatre In Chicago

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