PicksInSix Review: Urinetown - Theo Ubique | The Fred Anzevino Theatre

No Pity Potty at Theo’s ‘Urinetown!’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There aren't many pieces of theatre that so expertly lets its audience members know the authors are winking at them, that everyone is in on the joke, as in the energetic musical satire “Urinetown,” now playing at Theo through December 21.  All elements in the show own this attitude throughout. There's the strong, self-effacing book of Greg Kotis, which makes fun of, well, nearly everything either Broadway musical-ish or municipal efficiency-like. The stylish score by Mark Hollmann makes marked bows to Weill and Bernstein and Harnick and even blues, while pointedly using “Les Misérables” as a musical inspiration at the end of Act I in articulating the satire.

Director Danny Kapinos has smartly, and with a lot of fun, shaped this story as an immersive, get-the-folks-involved experience. More kudos for Brenda Didier’s tight choreography. She adapts expertly to the space available, and it is a joy to watch. If you've ever seen a production at Theo, you know that every inch of the space is often used with platforms, steps, light shafts and sound effects as much as possible, and it's an enjoyable signature of the theatre. The story itself—an informed examination of social conscience, human rights and corporate greed—offers eerie echoes to American society today, even though “Urinetown” was created more than a quarter century ago.

Right from the get-go Officer Lockstock (Ryan Stajmiger in a charming performance of a pervasive character) greets everyone in narrator fashion with "Hello there and welcome to Urinetown!" Then he tags it with "Not the place, of course. The musical!''  And the audience understands the ride will be unique. Little Sally (a strong Theo debut for Maya Tanaka Allwardt) starts out innocently in similar fashion and becomes almost a conscience for good as the story progresses. In that story, there is a dramatic water shortage from a 20-year drought, so the town contracts for and sees the creation of a corporate arm that charges all people whenever they use the water. And yes, that means for all purposes; hence, the title. It's run by Caldwell B. Cladwell (an aware, deft portrayal by Drew Longo), whose daughter Hope (Amanda Rodriguez and her glorious singing) has just joined the company after college.

Then there's Bobby Strong, the one who stirs up good trouble (Luke Nowakowski is clear-eyed and purposeful here) by getting the hoi polloi to rebel against the powers-that-be, drawing his line in the sand as his love for Hope becomes more evident. And Penelope Pennywise, Cladwell's enforcer (the powerful Alicia Berneche ... wow!) keeps everyone in line by taking payment as that line goes through its daily chore. And Pennywise reveals a twist in the plot that takes everyone off guard. The satire is the boss here, and everyone in the theatre becomes a part of it.

At Theo, an audience can always depend on one thing: the high quality of its musical stance. Music director Aaron Kaplan and Associate and Keyboardist Kevin Zhou, along with their four players, have done wonders in reducing the score while maintaining its full and robust presence. And they handle the various jumps in genre and parody with style. They have also coaxed the same from a fully committed, talented ensemble, many of whom are making their Theo debuts here. It’s the main reason this writer enjoys Theo offerings, because their musical approach upholds the theatre's professional promise. Bravo!

As you enter Theo these days, you see outside on the building's wall a lovely tribute to its Founder/Artistic Director Fred Anzevino, who passed away earlier this year. It's worth noting that Mr. Anzevino's commitment results in the legacy of professionalism and the sheer number of productions that Theo has offered over the years. It's a marvelous reminder how artistic endeavor lives on through such a legacy.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Liz Stenholt Photography

Theo Ubique Cabaret Theatre
presents
URINETOWN
721 Howard Street
Evanston
through December 21

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PicksInSix Review: DIANA: The Musical - Theo Ubique Cabaret Theatre

Powerhouse Central Performance Drives THEO’s ‘DIANA’!
PicksInSix® Review | Guest Contributor | Ronald Keaton

The great Fred Anzevino, founder and executive director of THEO up on Howard Street in Evanston, passed away recently. The last production on his watch, co-directed and choreographed by Brenda Didier, was “DIANA,” the musical piece that delves into the lives of Diana, Princess of Wales, and Britain's Royal Family. “DIANA” opened this past weekend and plays at THEO through July 6. From the time of her late teens—when she was literally selected by Queen Elizabeth II as a bride for her first-born son Prince Charles—to the time of her tragic death in 1997, Diana was daily exposed to the international spotlight.

As created by Joe DiPietro (book/lyrics) and David Bryan (music/lyrics), Diana is taken from her position as a nursery school assistant in early 1981 and whisked through what amounts to a crash course in royal life and expectation. By July that year, she and Charles have their royal wedding with an international television audience viewing the event at St. Paul's Cathedral, chosen over the traditional Westminster Abbey because it offered more seating.

From there, we see all the ups and downs of life with Diana and Charles. Very little is spared in the script—two sons, at least two affairs (one of which, of course, included the now-wife of Charles III, Camilla Parker-Bowles)—and a great deal of societal exposure for a woman who is not ready for such an experience, but learns well on the job. The public embraces her fully, thanks to Diana's own brand of a common touch, and it couldn't get enough of her.

Neither could the British press. It hounds her constantly, with photographers and reporters waiting at every turn. Such a reality naturally puts pressure on the marriage. Diana tries to plant her feet and be her own person, while Charles expects her to fall in line with every piece of royal etiquette and tradition as the wife of the heir to the British throne. With each child born (William in 1982, Harry in 1984), the couple makes amends and tries yet again to overcome the obstacles. But in time, there are simply too many walls to climb, and they divorce in 1996.

The best parts of the story come after. Diana visits an AIDS ward, where she reaches out to meet the sick and fights the protocol to don protective outerwear, producing a touching exchange between visitor and patients. Diana (a powerhouse vocal performance by Kate McQuillan) speaks and sings openly of her desire to truly impact the world. Charles (Jack Saunders in his Theo debut) sticks to the palace traditions throughout, costing him dearly. A real delight is Jacqueline Grandt in the dual role of Queen Elizabeth/Barbara Cartland, as she plays the author in a marvelous comic turn and the Queen as the rock of the family. Her song in Act II, "An Officer's Wife," shows a vulnerability that belies the Queen's tough exterior. Colette Todd marvelously underplays her Camilla Parker-Bowles in a strong portrayal.

This is a difficult story to tell onstage, and the ensemble is more than up to the task. They play everything from royal staff to paparazzi to intimate friends to outlandish partygoers at every turn. The three-player music ensemble led by keyboardist Kevin Zhou expertly guides his band through a long list of twenty-nine pieces of music, all the while being supportive and controlled in the small environment that is THEO's stage and trademark.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Teddy’s Last Ride.”

PHOTO | Time Stops Photography

Theo Ubique Cabaret Theatre
presents
Midwest Premiere
Diana
721 Howard Street
Evanston, IL
through July 6, 2025

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PicksInSix Review: Jersey Boys - Mercury Theater Chicago

Sweet, Sassy, Success Story, Richly Told!
PicksInSix® Gold Review | Ed Tracy

After an electrifying opening on Thursday night at Mercury Theater Chicago,  “Jersey Boys,” the mega-hit Tony Award-winning musical has officially launched its first regional production in Chicagoland. Get in step, folks. This will be the hot ticket to get in town!

The Marshall Brickman and Rick Elice book follows the origin story of The Four Seasons, one of the top selling vocal groups of their, or any, time told from the perspective of each of the four guys who traded up from a Newark street corner to the Rock and Roll Hall of Fame – Tommy DeVito (Adrian Aguilar), Nick Massi (Jason Michael Evans), Bob Gaudio (Andrew MacNaughton) and Frankie Valli (Michael Metcalf).

JERSEY BOYS: The Story of Frankie Valli & The Four Seasons at Mercury Theater Chicago through May 19, 2024.

Along the way, all night long, the memorable Bob Gaudio and Bob Crewe hits keep coming, backed by the highly-charged Mercury Theater band under co-musical directors Eugene Dizon and Linda Madonia, and with choreography by Christopher Chase Carter, all under the co-stage direction of L. Walter Stearns and Brenda Didier.

And everyone on and off stage make it look easy, something that this magnificent show is decidedly not. With over 30 numbers, lots of moving parts, and barely over a dozen players covering numerous roles, Mercury’s “Jersey Boys” is a sweet, sassy, success story, richly told. Things move along at lightning speed on Bob Knuth’s mammoth, two-story scenic design framed with G. “Max” Maxin IV graphics that serve to both reinforce the story and provide multiple visual surprises. With Rachel Boylan’s costumes, lighting by Denise Karzcewski and Stephanie M. Senior’s sound design, this marvelous production is everything you could hope for.

The show also serves as a right of passage for a very select group of actor/singers at the top of their craft who can navigate a musical marathon of intricate harmonies, stage show choreography and the rigorous ebb and flow of a dramatic story that allows for multiple narrators to tell their own version of the story about friendship, family, overcoming obstacles and achieving success.

The multi-layered Mercury creative team hit solid gold with this extraordinary cast. Aguilar’s gritty, commanding portrayal of Tommy DeVito, the hardened, street smart leader of the group, propels the origin story forward at the outset while Evans’s superb, more introspective, troubled Nick Massi wins us over, particularly when the stress of keeping up wears him out.

The teaming of MacNaughton and Metcalf is inspired. MacNaughton’s pure voice and vocal range add depth to the musical mix and Metcalf has all the right stuff for the demanding vocal range and lush delivery of Frankie Valli—a star turn of the first order—charming and poised, with just the right mix of confidence and vulnerability.

Grant Alexander Brown shines as the ebullient matchmaker Joe Pesci. Starmaker producer/songwriter Bob Crewe is played by the multi-faceted Adam Fane who hires the group as backup singers to his corral of recording artists and becomes the pivotal driving force in their success co-writing with Gaudio. It’s in Crewe’s studio where the transformation begins, their unique sound starts to coalesce and the show throttles up. And true to the real-life rags-to-riches story, Gaudio delivers the chart busting hit they have been waiting for and “Sherry” vaults the Four Seasons on to fame, fortune and all the trappings that follow.

From top to bottom, strong supporting performances from the ensemble are delivered by Dan Gold (Nick DeVito), Eric A. Lewis (Barry Belson), Kayla Shipman (Mary), Jason Richards (Norm Waxman), Haley Jane Schafer (Lorraine), Carl Herzog (Gyp) and Maya McQueen (Francine).

When we get through the drama of it all, Frankie Valli and the Four Seasons find their place in history, and Mercury’s “Jersey Boys” is on a path all its own–another milestone run on Southport for the foreseeable future.

Oh, what a night, indeed!  

PHOTO|Liz Lauren

Mercury Theater Chicago
presents
JERSEY BOYS
3745 N Southport Avenue
EXTENDED through July 28, 2024

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PicksInSix Review: Cabaret - Porchlight Music Theatre

Barrelling Down the Track of Life!
PicksInSix® Review | Guest Contributor | Scott Gryder

Perhaps you would have thought you’d gotten lost along the way to the opening night performance of Porchlight Music Theatre’s “Cabaret” at the Ruth Page Center for the Arts, for the stage had been transformed into a magnificent train depot the depth of the theater. Although I was familiar with the musical beginning with a trip, I was in no way prepared for the runaway train experience coming down the track brought on by an engine of brute force talent fueled by the finest directorial and choreographed momentum.

John Kander and Fred Ebb’s “Cabaret,” based on the 1951 Broadway play “I Am a Camera” by John Van Druten, appropriately starts with a train ride to Berlin by aspiring American novelist Clifford Bradshaw, who’s seeking inspiration for his latest work. The first German he meets, Ernst Ludwig, punches his personal ticket to rapture and ruin. Beyond the intimate bonds Clifford forges with vulgar club performers and hardworking, hardened day dwellers, the backdrop of “Cabaret” is a Germany politically seething with the growing threat of Hitler’s Nazi Party agenda, which eventually sends Clifford’s new life and loved ones scrambling to find their footing amid the inevitable devastation.

What really charges the show is the synergy between every single member of the cast. Whether a featured or ensemble role, each performer brings fully formed characters to the stage. Even cameos are dynamically developed. There were times when, even as the stage is filled with rambunctious activity at the Kit Kat Club, one can readily identify each character from across the show’s scenes thanks to their nuanced behaviors. This cast is committed to character. Between hit novelty numbers at the Kit Kat, multiple characters completely saturate the book scenes with profound truth. The glamor and vulnerability of Erica Stephan’s Sally Bowles is breathtaking, while Mary Robin Roth brings a fierce compassion to her Fräulein Schneider to a degree that would make even Lotte Lenya green. Additionally, Neala Barron’s brash Fräulein ‘Fritzie’ Kost, with a vocal apparatus that bellows, belts and sears, comes through with humor and heart. While, lastly, wreaking of a smarmy charm, Josiah Haugen’s Ernst Ludwig is nearly irresistible, embodying the Nazi nature with a frightening charisma.

As an intensely avid fan of the legendary Broadway songwriting team, this production, on the whole, is just what a production of “Cabaret” ought to be. It’s bawdy. It’s sincere. It’s disturbing. And each actor fits firmly into their roles, fully embracing the subtext of every line and lyric. Implementing a phoenix-like rising from the ashes, time-travelling establishing moment, PorchLight’s Artistic Director Michael Weber has gifted us a ticket to a searing production that transports us full steam ahead into the heart of the story. Add to that the ever-scintillating dance sequences by Chicago-beloved choreographer & associate director, powerhouse Brenda Didier, and the scenes and musical numbers are of famed Moulin Rouge caliber.

Scenic Designer Angela Weber Miller’s stunning railway-inspired set creates a fully playable canvas, easily absorbing projections to help designate locations, and flawlessly transforming between the famed Kit Kat nightclub and Fräulein Schneider's boarding house. Costume Designer Bill Morey dominated the epic task of not only costuming a cast of featured characters in the main plot with delicious textures and swanky style, but he created provocative visuals for the multitude of senses within the scenes at the Kit Kat Club. What added bonus depth to the stage was the cinematic lighting by Patrick Chan. Taking advantage of the steady haze silently creeping onstage, Chan achieved movie-like close-up energy by utilizing sharp spotlights across clouds of emoting washes of reds, blues and golden hues. The orchestra, under the baton of conductor and musical director Linda Madonia, was sublime. They executed Kander’s music with incredible precision and stamina. Kudos to trumpeter Greg Strauss! Has he got sonant spunk! If only, considering the glitz and personality given to the actors' costumes, the orchestra had also been outfitted with thematic pizzazz instead of street clothes.

The engine of this “Cabaret” only continues to gain propulsion as each new relationship is forged or broken or as each dream is won or lost, relentlessly pushing the plot and the lives of those involved to go faster and faster. Eventually, as trains do, the best laid plans are derailed, grinding goals to a halt and sending lives smashing. And the ride from start to finish is worth it! As a ticket-buyer tip: look for seats center or house right, so you’ll have a better view of the action, especially stage left. You really must come to Porchlight’s “Cabaret,” old chum!

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Liz Lauren

PORCHLIGHT MUSIC THEATRE
presents
RENT
Ruth Page Center for the Arts
EXTENDED
through March 19, 2023

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DIGITAL PROGRAM

 
Additional Cabaret Content

Courtesy of Porchlight Music Theatre January 2023

Cabaret - Origins
Cabaret –Influences
Cabaret at Porchlight!

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PicksInSix Review: Cinderella

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“THE PRINCE IS GIVING A BALL!”

There is a new glistening pair of glass slippers in town and thank the heavens that they fit Mikayla Renfrow, the enormously talented star of Paramount Theatre’s shimmering new production of Rodgers and Hammerstein’s Cinderella directed by Brenda Didier that opened Friday night.

In a graceful and superbly poised debut performance, Renfrow’s soaring voice, arresting presence, and effortless dancing ability, anchors an all-star cast in this year’s holiday offering at Chicagoland’s largest regional professional theater. The timeless message of hope and resilience that the show delivers is just the heartwarming tonic that everyone needs right about now. Adapted by Tom Briggs for the stage from the 1997 teleplay by Robert L. Feedman, this edgy version has a rich and storied history. Yes, there’s that brilliantly imaginative moment in Act I—the one that people in every little corner will be talking about, but you’ll not get a peep out of me—during which I could hear audible gasps of wonder from youngsters of all ages. It’s the beginning of a bright and fantastic journey that will make you believe that anything is possible.

Cinderella’s dashing prince Christopher—the kind of guy who “can turn a girl to gravy”—is played by Marckus Blair whose earnest demeanor, lush voice and wide range are a perfect fit for Renfrow’s alluring affection. Ever the optimist, Cinderella blossoms from the shadows of her domineering stepmother, done up with sinister flair by the brilliant Sarah Bockel and matched in all their despicable hilarity by Jacquelyne Jones as the itchy Grace and Tiffany T. Taylor’s chortling Joy. The two are terrific comic foils and nail the duet “Stepsisters’ Lament.”

There are many outstanding feature performances: Chicago favorite Lorenzo Rush Jr. as the steward Lionel and leading the ensemble in “The Prince Is Giving A Ball”; the enchanting Jerica Exum’s as Cinderella’s Fairy Godmother; and, the captivating duo of Rashada Dawan (Queen Constrantina) and Michael Kingston (King Maximillian) at their stately best.

The ensemble of well over twenty is packed with exceptional singers and dancers who all look stunning in Teresa Ham’s gorgeous costumes especially during the opulent ball, a fine example of the lavish choreography by Didier and co-choreographer Tiffany Krause throughout. Cinderella’s closest, and tiniest confidants, the mighty nice mice, a perky pigeon and a cagey cat in the cupboard are lots of fun. Music director Kory Danielson leads the Paramount Orchestra’s exceptional performance of the memorable score that includes “In My Own Little Corner,” “Impossible,” “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful”.

Scene designer Angela Weber Miller has framed the proscenium with an intricate and detailed weave that evokes a wrought iron system with a leaf and flower design complimented by the starry effects of lighting designer Victoria Bain. The festive ballroom, with a grand central staircase, is awash in lavender and blue, an elegant fairy tale setting for Cinderella’s eye-popping entrance on the way to making her dreams come true.  

PHOTO|Liz Lauren

Paramount Theatre
presents
Rodgers and Hammerstein’s
CINDERELLA
through January 9, 2022

23 East Galena Boulevard
Aurora, IL 60506
(630) 896–6666

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PicksInSix Review: THE PRODUCERS Paramount Theatre

“GOOD LUCK! GOOD LUCK! GOOD LUCK!”

This much you probably already know, but it bears repeating: “The Producers,” Mel Brooks’ raucous, no-holds-barred musical send-up of the iconic 1967 film starring the immortal Zero Mostel and Gene Wilder, hit Broadway like a tornado in 2001 after sold-out previews in Chicago. That production starred Nathan Lane and Matthew Broderick, and received 12 Tony Awards, including best actor in a musical for Lane (nominated with Broderick) and best director and choreography for Susan Stroman. I was in the St. James Theater for the first Broadway preview performance on March 21, 2001, and remember the experience like it was yesterday: walking up to the box office at curtain, snagging a single ticket and settling into the stage-left box high above the stage for one of the most stunning and electrifying evenings I ever had in a theater.

That memory loomed large until Saturday evening at Paramount Theatre, when an exuberant opening-night audience, eager to see just how a time capsule of musical comedy would play in its natural, large-scale habitat, was treated to a gorgeous, non-stop comic gem. The Jim Corti-directed blockbuster stars the enormously talented duo of Blake Hammond and Jake Morrissy as Max Bialystock and Leo Bloom, who cook up a scheme to bilk wealthy widowers of their money so they can retire to Rio after their surefire flop crashes and burns. With all that is happening–and there is something special at every turn in the fast-paced, musical-comedy romp–Hammond and Morrissy own this show. Hammond’s opening exultation number, “The King of Broadway,” elevates the entire company, and his fervent solo turn, “Betrayed,” is a capstone moment of the night. Morrissy is a triple-threat talent whose comic range fits perfectly in the role of the meek accountant who finds confidence along the way, especially with Elyse Collier’s Ulla, whose amazing musical assets are in a full bloom all their own—especially in her big and boisterous number, “When You Got It, Flaunt It.”

As for the story, in an odd twist of fate, or rather, turn of a phrase, success is sealed in the cleverly framed lyrics of “It’s Bad Luck to Say Good Luck on Op’ning Night,” as Max, hoping for the worst, shouts, “Good Luck! Good Luck! Good Luck!”–the musical equivalent of referring to the “Scottish play” by its real name. In the end, the message is to follow your dream. For some that’s being a Broadway producer and lunch at Sardi’s every day. For others, it’s wearing a brat and grill headdress or singing, “Haben Sie gehört das deutsche Band?”

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Director Corti and choreographer Brenda Didier delightfully skewer the business of show at every opportunity, with a direct hit in the show’s big number, “Springtime for Hitler.” Sean Blake’s insanely over-the-top Roger DeBris, whose entourage includes the wistful Carmen Ghia (Adam Fane at his best) leading a band of minions in “Keep It Gay,” is perfect. Blake’s furor-raising turn in the musical-within-the-musical is inspired. And, you will marvel at Ron E. Rains’ manic Franz Liebkind, the Nazi sympathizer, playwright and pigeon-keeper extraordinaire.

“The Producers” boasts an impressive roster of more than 20 of Chicago’s brightest musical talents in multiple roles who all deserve mention here, including: Nathan Mittleman, Sawyer Smith, Jason Richards, Jenna Coker-Jones, Matt Casey, Sara Reinecke, Haley Jane Schafer, Erica Evans, Allyson Graves, Christopher Kelley, Miranda Borkan, Bethany Christine Elkin, Kaitlin Jempson, Bernell Lassai III, Ivory Leonard IV, Eben Logan, Jessica Palkovic, Brandon Pisano, Elena Rios, Anthony Sullivan Jr., Marco Tzunux and J Tyler Whitmer. 

The crisp and finely tuned 21-piece orchestra is conducted by Tom Vendafreddo, who also serves as music director. The impressive and colorful William Boles set design and ingenious Jordan Ross costumes–on full and glorious display in Morrissy’s brilliant “I Want to Be A Producer,” and the show-stopping, “Springtime for Hitler,”–are flat-out spectacular, as is the sound design by Adam Rosenthal, Jesse Klug’s lighting and projections by Mike Tutaj. Much more will leave you laughing in the aisles at the big, beautiful Paramount Theatre—but only until March 17th, so you should line up now or risk breaking a leg or two in the stampede to get into this one!    

PHOTOS|Liz Lauren

PARAMOUNT THEATRE
Presents
THE PRODUCERS
through March 17th
23 East Galena Boulevard, Aurora

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TICKETS
(630) 896-6666

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PICKSINSIX Review: PIPPIN

“THIS “PIPPIN” IS A CROWNING ACHIEVEMENT!”

It was a busy Saturday night at the Mercury Theater Chicago on North Southport. “AVENUE Q,” — or, as I like to refer to it, the puppet juggernaut “AQ2,” since it recently surpassed 100 performances on its second run in four years and is now extended through December 30th — had capacity crowds at 5:30 p.m. and 8:30 p.m. While the puppet-handlers were on dinner break, a steady stream of patrons was veering off to the right into the shadowy and steamy Venus Cabaret Theater for the much-anticipated second show at the new venue, the iconic 1972 Stephen Schwartz hit “PIPPIN.”

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In a stroke of genius by the manager of the Mercury’s Traffic Control and Scheduling Department, the staggered performance times allowed for the delay of any lobby mayhem until “PIPPIN” got out, which happened to coincide with the intermission of “AQ2.” Nobody seemed to notice at all because everyone was happily chattering about what was behind Door “P” and behind Door “Q.” Venus is definitely coming into alignment with Mercury. This “PIPPIN” is a crowning achievement! 

The main character of “AQ2,” Princeton and Pippin are each trying to find their “purpose” in shows that could not be more different in musical style, tone and presentation. The absurdly fun “AQ2” is about puppets searching for the inner meaning of life. The Venus production of “PIPPIN” — under the direction of L. Walter Stearns, featuring the expertly stylized, Fosse-infused choreography of Brenda Didier, the razor-sharp musical direction of Eugene Dizon and performed by a trio under the direction of piano/conductor Andrew Milliken – emerges as the realization that if there is hope and love, nothing else matters.

The Leading Player (a commanding performance by Donterrio Johnson) moves in and out among his Players, who frame the familiar story of Charlemagne (Don Forston), Charles son’s Pippin (Koray Tarhan) and half-brother, Lewis (Adam Fane) and Lewis’ mother, Fastrada (a ‘mistressful turn’ for the multi-talented Sawyer Smith). Along the way from soldier, to ruler and ultimately, his corner of the sky, Pippin receives all kinds of guidance and advice from his grandmother, Berthe (the incomparable Iris Lieberman) in “Time To Start Living.” Tarhan’s quiet “With You” and “Love Song” with Catherine (Nicole Armold) are memorable Schwartz ballads. The Ensemble also includes Kayla Boye, Michael Rawls and a nice performance by Gabriel Robert in the role of young Theo.

The big numbers are on full throttle including Johnson and Company in “Magic To Do” and “Right Track”… Tarhan’s “Corner of the Sky” and “Morning Glow”… Armold’s “Average Everyday Woman” …and Smith’s “Spread A Little Sunshine.” There is a special place for everyone in “War is a Science,” a scene that includes a very amusing topographical element (video and projections by G. Max Maxim IV) before the men go marching out into the fray, replete throughout in Rachel Boylan’s dazzling costumes.    

Venus Cabaret Theater is evolving into an epicenter for innovative, high tech, cabaret-style musical productions. For “PIPPIN,” the colorful, new show that works exceptionally well on the darker, more mysterious, side of the cabaret spectrum, veer just to the right through Door “P.”

PHOTOS|Michael Courier

VENUS CABARET THEATER
Presents
PIPPIN
through December 16th
3741 North Southport
(773) 325-1700

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PICKSINSIX Review: GRAND HOTEL

"WE’LL TAKE A GLASS TOGETHER!"

If only the walls could talk … Berlin. 1928. The situation is desperate just beyond the revolving door of the Grand Hotel. “People come and people go ... but time is running out” for the current guests we are about to meet whose lives intersect on one fateful night. If only the walls could talk what stories they would tell. For the rest of us, there is Kokandy’s stirring new staging of Grand Hotel, the four-time Tony Award-winning musical of love, mayhem and murder playing now at Theater Wit.

What you need to know … ground-breaking for its time at just over 110 minutes in one-act, Grand Hotel received 12 Tony nominations, winning five including Best Director and Best Choreographer for Tommy Tune and Best Performance by a Featured Actor for Michael Jetter. The Robert Wright/George Forrest score, with additional music and lyrics by Maury Yeston, is a continuous combination of music and dance.

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A fast-paced, non-stop gem … In the expert hands of director John D. Glover with Musical Director Aaron Benham and Choreographer Brenda Didier, Kokandy’s Grand Hotel is a fast-paced, non-stop gem. The broadsheet program lists nearly two dozen in the cast. Several of the high-stepping dance numbers had over twenty onstage - no small feat of traffic control by the seasoned Didier to pull off so marvelously in Wit’s Theater One.

The players … the story unfolds with Colonel Doctor(Jerry Miller) in the lobby of the Grand Hotel, joined by Preysing(Jeremy Trager), whose manufacturing operation is failing; Flaemmchen(Leryn Turlington), a young typist with Hollywood ambitions; Otto Kringelein(Jonathan Schwart), a wealthy and seriously ill accountant; Baron Felix Von Gaigern(Erik Dohner), the dashing (and busted) bon vivant; and, Elizaveta Grushinskaya(Michelle Jasso), a prima ballerina trying desperately to turn back the clock and attended by her loyal companion Raefella(Liz Norton). While Elizaveta reluctantly prepares for the ballet, Flaemmche is falling head over heels for the Baron. Coerced into a plan to steal Elizaveta’s necklace to pay off his debt, things heat up in the boudoir for the Baron when Elizaveta returns. Meanwhile, with her options dwindling, Flaemmche makes an ill-fated decision to turn her attention to Preysing, who is now facing ruin and will say anything to have her. Along the way, and at the heart of the story, is the delightful interplay between the pragmatic Kringelein, the Jimmy's - Darren Patin and Travis Auston Wright - and all of the others at the hotel.

So much to see and hear …  the richly appointed Jeffrey D. Kmiec set, with lighting by Alexander Ridgers and costume designs by John Nasca perfectly evoke the period. There is so much to see and hear thanks to the superb work of music director/pianist/conductor Aaron Benham teaming with Elena Spiegel and Tony Scandora. The pace and flow make this a surprisingly tuneful score including the company opener “At the Grand Hotel” … the Jimmy's (Darren Patin and Travis Auston Wright) snappy “Maybe My Baby Loves Me” … Jasso’s poignant “Fire and Ice” ... the charming Turlington’s “l Want To Go To Hollywood”… Dohner, Turlington, and Schwart in  “Who Couldn’t Dance With You” … “Love Can’t Happen” … and the show-stopping number for Schwart, Dohner and the company in “We’ll Take A Glass Together”

Turning point … looking through the historical lens to Vicky Baum’s 1928 play and novel Menschen im Hotel, the source material for the 1932 Garbo film, and all that followed, it may seem obvious that the encounters of these characters in a lavish hotel in Berlin serve as a turning point of the inner war years. What may not be readily apparent is that this compelling and artfully staged production allows us to more fully understand the inevitable outcome as if we are experiencing it for the first time - a future that lays in wait just outside the Grand Hotel's revolving door.

PHOTOS|EVAN HANOVER

KOKANDY PRODUCTIONS
Presents
GRAND HOTEL
THEATER WIT
1229 W Belmont Ave
through May 27th
TICKETS
WEBSITE

For more reviews, visit: Theatre In Chicago

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"Flying like a bird. Like electricity."

BILLY ELLIOT THE MUSICAL

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What it's about ... based on the 2000 film and with music by Elton John and book and lyrics by Lee Hall ... as everyone in a small mining community in Northeastern England faces a protracted and hostile strike, a boy discovers a passion for dance and against his father's wishes, trains for an audition at the Royal Ballet School. 

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Lots of firsts ... the first production of Porchlight Music Theatre's 23rd season in their new home at Ruth Page Center for the Arts with the largest cast ever in company history. This is a big, bold move for one of Chicago’s most ambitious musical theatre companies. If Billy Elliot is any indication of what is to come, the future is very bright indeed for the organization headed by Artistic Director Michael Weber and Executive Director Jeannie Lukow. 

"Electricity" performed by Lincoln Seymour

What stands out ... director and choreographer Brenda Didier has assembled an exceptional cast of talented kids, headed by newcomer Lincoln Seymour in the title role (alternating with Jacob Kaiser), whose enthusiasm and presence explodes off the stage. The joy that exudes from all that energy is infectious.

Who to watch for ... Shanésia Davis is perfect in the role of Mrs. Wilkinson … Sean Fortunato (Dad) ... Iris Lieberman (Grandma) … Adam Fane (Tony Elliot) … Peyton Owen is an engaging Michael ... Nicole Cready (Mum) … along with the supporting cast of miners, merrymakers and dance students who keep this show on its toes.

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What to wait for ... Davis 'Shine' ... Lieberman 'Grandma's Song' ... Owen and Seymour 'Expressing Yourself'... the Ensemble 'Merry Christmas Maggie Thatcher' ... Seymour 'Electricity'

The takeaway ... hold on for the big finish. It’s a wow!

Photo Credit: Michael Courier
Video Courtesy of Porchlight Music Theatre

Porchlight Music Theatre's
BILLY ELLIOT The Musical
Now extended through November 26th
Ruth Page Center for the Arts
1016 N. Dearborn St.
Chicago
WEBSITE
TICKETS
773-777-9884
ARCHIVE 
PODCAST (Brenda Didier)