PicksInSix Review: CATS - Paramount Theatre

Spectacular Revival Under The Big Top!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

I must admit something. Despite being a big musical theater and even bigger cat fan, Andrew Lloyd Webber’s “Cats” never appealed to me. I more so enjoyed the pop culture references that poked fun of cats singing and dancing on stage. Even one of my favorite cartoons as a kid, Hey Arnold, had an episode where one of the characters attends, and laughs through, a musical called Rats—an obvious parody of “Cats.” I found that quite funny, and so, as one might expect, I arrived at Paramount Theatre’s revival of “Cats” with some hesitancy.

It did not take me long to change my tune. This circus-themed production of “Cats,” directed by Trent Stork, transforms the Jellicle Ball into a larger-than-life event. As one of the longest-running shows in Broadway history, clearly the glitz, glam and weirdness of “Cats” has mesmerized audiences for over 40 years. Paramount Theatre takes the dazzling dance musical to literal new heights with aerial arts, acrobatics, contortion and juggling. The audience “ooo’d” and “ahh’d” from start to finish.

The scenic design by Jeffrey D. Kmiec and projections design by Paul Deziel are remarkable. From the big top tent to the oversized props and big glowing moon, a magical world was created where cats displayed their vast array of talents and embraced fanciful oddities. It took me some time to realize “Cats” is basically a talent show for cats. By making the production a circus, leaning into the spectacle of it all felt both natural and quite fun. Plus, the addition of circus props, like red balloons, made for visually stunning moments throughout.

The impressive choreography by Kasey Alfonso did well to capture the essence of feline behavior and tell the story of each cat with energetic and stylish flair. Stand out dance performances include Bombalurina (Tiffany Topol), Demeter (Alexandra Palkovic) and Company during “Macavity: The Mystery Cat” and Mistoffelees’ (Christopher Kelley) dance solo. Kelley was a real showman and executed his dance solo with ease. The costumes by Izumi Inaba also added such personality by featuring a unique mixture of lush colors and textures. Old Deuteronomy’s (Lorenzo Rush Jr.) coat stood out in particular with its fuzzy opulence.

The sheer talent of this ensemble also makes “Cats” a must-see. The production features a whimsical combination of breathtaking circus artistry, stunning vocals and movement. Emily Rohm delivers an enchanting performance as Grizabella which earns her the ascent to the Heavyside Layer via a high-flying trapeze up and over the audience and into the balcony. Old Deuteronomy’s (Rush) sweet-sounding and smooth vocals enhanced each scene he entered, and Rum Tum Tugger (Donovan Hoffer) packs a ferociously controlled punch throughout the show.

Die hard “Cats” fans, newbies and even skeptics like me will find this revival truly entertaining. With such wide appeal, and in true circus fashion, seems only fitting to say “come one, come all” You don’t want to miss this.

GUEST CONTRIBUTROR | Kaitlyn Linsner serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO|Brett Beiner Photography

Paramount Theatre
presents
CATS
23 East Galena Boulevard
Aurora, IL
through June 15, 2025

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PicksInSix Review: The Matchbox Magic Flute - Goodman Theatre

Reduced Retelling with Epically Goofy Grandeur!
PicksInSix® Review | Guest Contributor | Scott Gryder

The star-swirled proscenium of the Goodman’s Owen Theatre playfully invoked the essence of a childhood bedroom, ripe with stories to be told, creating the perfect backdrop for the opening night/world premiere performance of Mary Zimmerman’s “The Matchbox Magic Flute.” A spirited reworking of a centuries-old tale, this playful mini-rendition is the perfect introduction to the piece and the artform of classical storytelling, while maintaining a respectful reverence for the opera’s origin.

“The Matchbox Magic Flute” follows the adventures and trials of Prince Tamino, your stock prince charming. Along the way, he makes a bird-brained friend, Papageno, and they are tasked with finding and rescuing the Queen of the Night's daughter, Pamina, who’s been captured by a sinister fiend. A completely family-friendly event, this production takes the original Singspiel source material of Mozart’s “The Magic Flute” and powders it with a more floral, playful Gilbert & Sullivan operetta flair.

In keeping with the original operatic style, “The Matchbox Magic Flute” weaves together a spellbinding storytelling through song, with very minimal moments of dialogue, and the star-studded cast commits full tilt. In a way, as the text has been thinned, the characterizations and their goals have been inflated. Of the trio of Ladies, reminiscent of the witchy sisters of Hocus Pocus, First Lady Lauren Molina truly captures the manic intensity of over-the-top subtext, while later naturally transforming into the frolicking and foul beloved Papagena. As Tamino, the always-handsome Billy Rude plays a dependable Prince. Although beautifully layered in vocal range, Rude lacks a solid singing line in comparison to the rest of the cast. Speaking of, watch out, Maria Callas! The fierce, fiery vocals of Emily Rohm’s Queen of the Night truly strike fear in all hearts who share her stage! Even her dress flows with a magma-like rage as her vocal acrobatics sear. And, like mother, like daughter, Marlene Fernandez’s Pamina warbles a range of deep richness, while also enchanting with a soaring soprano. Pair Fernandez with the clownish Papageno of Shawn Pfautsch, part Piglet/part Tigger, and their schmaltzy repartee is endearing and amusing. Most vocally soothing is Keanon Kyles as Sarastro, whose basso profondo delivers chills and thrills.

Whether you’re a fan of the original story, or hardly familiar with it at all, you’ll be truly captivated by Chicago-favorite Mary Zimmerman’s adaptation and direction. Zimmerman is no stranger to this elevated artform, with a resume reaching all the way to the Metropolitan Opera. What she does with “The Matchbox Magic Flute” is combine her knack for musical theater timing with the grandeur strokes of opera, creating a youthful retelling. For the music, while lyrics sometimes edge more toward basic rather than inventive, music adaptors and arrangers Amanda Dehnert and Andre Pluess refreshingly revive these original melodies, succinctly capturing the frothy character motivations.

The more petite venue of the Owen Theatre helps to capture the matchbox concept of the show, further instilling the image that “The Matchbox Magic Flute” could be boxed up and set on wheels to travel from town to town, with a Jack in the Box ease. Even the dual role casting throughout emphasizes the traveling troupe aesthetic. Set designer Todd Rosenthal leans into the collapsible concept with tracked, sliding flats and effortlessly spun walls, painted pastorally and with brocade patterns. And what a delightful concept to have the orchestra in a raised pit at the foot of the stage, bringing the musicians into the action, sometimes literally, within arm’s reach of the vaudeville style stage.

The production elements of “The Matchbox Magic Flute” are so cleanly executed, it’s as if you could simply close the door on the Owen, latch it securely and then carry this marvelous musical moment onto another venue entirely; opening it like a music box to reveal the same darling show on the move. For patrons who don’t fancy themselves operagoers, or for anyone wishing to dabble in the genre, “The Matchbox Magic Flute” satisfies. The sure sign of a winning musical experience is when the melodies linger in your ear as you leave. And how could these tuneful masterpieces not, especially when so daringly and darlingly delivered? Bravi tutti!  

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

Goodman Theatre
presents
The Matchbox Magic Flute
Adapted and Directed By Mary Zimmerman
EXTENDED
through March 24, 2024

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PicksInSix Review: Gypsy: A Musical Fable - Marriott Theatre

“A PIONEER WOMAN WITHOUT A FRONTIER.”
PicksInSix® Review | Ed Tracy

Say what you will about the manipulative Rose Hovik—the complex character and commanding force at the center of “Gypsy: A Musical Fable,” the 1959 Arthur Laurents book with music by Jules Styne and lyrics by Stephen Sondheim that has its origins in the memoirs of Gypsy Rose Lee—she proves that very little will stand in the way of her personal ambitions. Whether it’s stealing from her father for the next big break, relentlessly pushing her two daughters into the business that passed her by or leaning on everyone around her whenever necessary, Rose is the engine that’s barreling down the track. Never giving up, whatever the cost. It’s all the stuff of epic musical theatre, and the fruit of a historic collaboration, that opened Wednesday at Marriott Theatre Lincolnshire in a bright, brassy and entertaining production, directed by Amanda Dehnert and choreographed by Stephanie Klemons.

The show features Broadway veterans and vocal powerhouses, Lucia Spina and Nathaniel Stampley as Rose Hovik and manager/companion Herbie, who ‘pool their resources by joining forces” to create a vaudeville show around Rose’s daughters Louise played by Lauren Maria Medina and June played by newcomer Tori Heinlein. Always the star in Rose’s dream of greatness, Heinlein’s June leads an endearing group of youngsters in the early years of the act, to the exclusion of the insecure and vulnerable Louise, who lacks the confidence of her sister and is earnestly along for the ride.

That is until the girls age out of the act and Rose’s attention, and livelihood, turns to making Louise star of the show. Medina’s transformation from little Dutch to the scintillating Gypsy in the show’s climax is as electrifying as Spina’s skillful and emotional “Rose’s Turn,” a transformation all her own from “a pioneer woman without a frontier” to the self-realization that there is more to life than unkept promises and broken dreams.

The ensemble is layered deep with exceptional talent. J’Kobe Wallace’s Tulsa offers up a smooth and savvy song and dance routine to “All I Need Is the Girl.”  Elin Joy Seiler (Baby June) and Milla Liss (Young Louise) are picture perfect in the opening of “Let Me Entertain You” as are all the youthful performers. Cedric Young, Joseph Primes and Steve O’Connell are among many in the ensemble who stand out in supporting roles.

But things come to an uproarious full stop in the free-wheeling performances of Emily Rohm (Tessie Tura), Leeanna Rubin (Electra) and Sawyer Smith (Mazeppa) who guide the wholesome Louise in the hilarious, tear-inducing dressing room number “You Gotta Have A Gimmick.” Between Rohm’s blooming butterfly in flight replete with spinning tassels, Rubin’s incandescent aura and the sheer magnificence of Smith’s statuesque presence in one of Theresa Ham’s inspired costume designs, it’s sheer bliss!

Collette Pollard’s scenic design is decked out from top to bottom in vaudeville flair that frames the action—and defines the journey incorporating Anthony Churchill’s unique media design—punctuated by Jesse Klug’s stellar lighting design, particularly during Gypsy’s coming of age. Music director Ryan T. Nelson and Marriott’s superb orchestra, conducted by Brad Haak, deliver every note from the fast-paced company numbers to Spina’s dynamic performance of the show’s iconic Act I closer “Everything’s Coming Up Roses” to make “Gypsy” a musical night to remember.      

PHOTO|Liz Lauren

MARRIOTT THEATRE LINCOLNSHIRE
presents
GYPSY: A Musical Fable
through October 15, 2023

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(847) 634-0200

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