Roaring Twenties musical parody works as a comedy within a show

RECOMMENDED

 

Audiences know that when the lights go off the show will start after actors take their places on stage. But in ‘The Drowsy Chaperone,’ a multi-Tony Award winning musical at Skokie Theatre, the lights stay off while a voice is heard moving closer to the stage.

Cast of 'The Drowsy Chaperone' at Skokie Theatre. MadKap Productions photo
Cast of ‘The Drowsy Chaperone’ at Skokie Theatre.
MadKap Productions photo

“I hate theater,” says a man’s voice. As he approaches the stage he explains that what he wants is a short show of about two hours. “Three hours is too much,” he says.

He notes that he wants the show to take him to another place so he can escape from the horrors of the real world. He wants to be entertained.

After the stage lights come on and he sits down in an old chair next to a record player, he asks the audience if they mind if he puts on one of his favorite musicals, ‘The Drowsy Chaperone.’ Of course, the audience agrees.

And so, James Spangler who is perfect as The Man in the Chair, has broken down that fourth wall of the stage as he addresses the audience throughout the show.

And yes, the musical that he asks the audience to imagine coming to life while he plays his record, is short. Running time is two hours, including a 15 minute intermission. But as The Man in the Chair requested, the show entertains.

A spoof of 1920s musicals populated by predictable characters, it has a Broadway producer and his ditsy girlfriend, gangsters, a talented musical star who will leave show business for love, her wealthy boyfriend, a Latin lover, an alcoholic dame and an aviatrix.

Across his sparse, care-worn flat, the first characters to appear are Mrs. Tottendale (Debby Shellard), owner of the mansion where the action takes place and Underling (Mark Anderson), a butler who caters to her whims. After wondering why she has on a fancy dress, he explains they are hosting a wedding.

Groom Robert Martin (Christopher Johnson) enters saying he may be getting “cold feet.” When followed by best man, George (Joe Lewis) the two do a terrific “Cold Feet” tap dance number.

The plot, as is appropriate for spoofs, thickens. Broadway producer Feldzieg (Bob Sandders) is confronted by The Tall Brothers gangsters (Zeke Dolezalek and Connor Hernandez), who pose as bakers and say their boss, a backer, seriously doesn’t want the show‘s star to wed and leave the production.

Feldzieg’s girlfriend, Kitty (Abby Boegh), says she’s ready to step in with a different kind of act when the star and bride-to-be, Janet Van De Graff (Rachel Whyte) leaves to marry.

Asked if she is serious bout leaving show business, Whyte brings down the house with her “Show Off” song and dance, full-company number. While showing off everything she can do including splits  she insists she doesn’t want to “show off” anymore.

Beautifully choreographed by Julie Salk and performed with acrobatic agility by Whyte, the surprise it that the number can be performed on the Skokie Theatre’s small stage.

Convinced his star does mean what she says, Feldzieg plots to change her mind by bringing in Adolpho, nicely overacted with the right amount of flamboyancy and vanity by Sean Barett.

Adolpho is sent to the bride’s room where he finds The Drowsy Chaperone, interpreted with zestful fun and sophistication by Mani Corrao.

Meanwhile, the bride tests the groom to see if he really loves her.

Act II brings resolution. It also brngs Trix the Aviatrix, played with pizzazz by the Sabrina Edwards, down to ground to perform a quadruple wedding.

As The Man in the Chair says, “Everything always works out in musical.”

Along the way, the audience is reminded that they are merely seeing a musical as explained by the Man in the Chair when he pauses the record player needle and the actors stop mid-movement, or when he has to correct the needle when it sticks. Yep, picture it.

Patty Halajian’s costumes add nostalgic charm. Directed by Stephen M. Genovese with musical direction by Aaron Kaplan, the Skokie Theatre’s The Drowsy Chaperone, offers a delightful, high-quality, tongue-in-cheek view of 1920s musicals.

First shown in 1998 in Toronto, then opening on Broadway in 2006, ‘The Drowsy Chaperone’ is a musical comedy with book by Bob Martin and Don McKellar and music and lyrics by Lisa Lambert and Greg  Morrison

DETAILS: ‘The Drowsy Chaperone’ is a MadKap Productions show at Skokie Theatre, 7924 Lincoln Ave., Skokie, now through Oct 7, 2017. For tickets and other information call (847) 677-7761 and visit Skokie Theatre.

 

Energetic ‘Rock of Ages’ revisits eighties music

RECOMMENDED

‘Rock of Ages’ at Drury Lane Oak Brook is a fun 80’s inspired musical romp through the apparently now nostalgic Reagan / G.H.W. Bush era.

Russell Mernaugh (Drew), center and the band. Brett Beiner photo
Russell Mernaugh (Drew), center and the band. Brett Beiner photo

The ankle-deep plot is reminiscent of the old Beach Party movies of the 1960’s.  Basically boy, Drew (Russell Mernaugh) meets girl, Sherrie (Cherry Torres). He aspires to be a rock star. She aspires to be a movie star. The couple’s love affair is interrupted by the intervention of superstar Stacee Jaxx (Adam Michaels) and hijinks ensue.

Meantime the evil, Nazi inspired Hertz (George Keating), reluctantly aided by his cowering and outrageously funny son, Franz (Nick Cosgrove), plans to push out the “rockers” and redevelop a portion of the Hollywood Sunset Strip into a European inspired mega-mall featuring all of the popular retail brands.

The plan includes taking a wrecking ball to the iconic Bourbon Room, a kind of Urban Cowboy bar run by aging proprietor Dennis (Gene Weygandt) who has not noticed that time has snuck up on him.

However, the culturally destructive aims of Hertz and Franz are energetically and enthusiastically challenged by the grassroots efforts of Regina – pronounced with a long “I” (Tiffany Tatreau).

This musical farce is sped along by the cornball humor and physical antics of Lonny (Nick Druzbanski). Think Svengoolie meets John Belushi.

The stage manager/audio tech and keeper of the Fogmaster 5000, acts as a kind of one man Greek chorus.

‘Rock of Ages’ has no religious connotation and the idea that the music of this period has a kind of timelessness is hopeful at best.

Cherry Torres (Sherrie) gets a job at the Bourbon Room in 'Rock of Ages.' Brett Beiner photo
Cherry Torres (Sherrie) gets a job at the Bourbon Room in ‘Rock of Ages.’
Brett Beiner photo

The story-line is basically an excuse to revisit a series of tunes and pay homage to the theatrically inspired Los Angeles Glam Metal genre whose rhythms are ideal for driving your shopping cart through Target or Walmart which is where you have probably heard most of these songs lately.

As the early part of generation X, the 80’s is defined musically by the rise of Madonna, Whitney Houston, Prince and Michael Jackson. The rock bands of the period had names like Guns N’ Roses, Metallica, Iron Maiden, Poison, Megadeth, and Anthrax which this production aptly spoofs.

Every member of the cast has the vocal chops required for their individual tasks. Donica Lynn who plays Mother gives us a couple of much appreciated soulful gospel-inspired moments.

The voice of Tiffany Tatreau is not lost in the crowd. Her feisty performances alone, and with Adam Michaels, really raise the energy level.

Much of the success of this production is due in no small part to the outstanding rock band led by keyboard/conductor Chris Sargent with guitarists Tom Logan and Dan Peters, Patrick Williams on bass and drummer Rich Trelease. The high point of the evening was their post finale jam played as the audience was filing out.

This production lived up to the high standards Chicago audiences have come to expect from The Drury Lane Theatre.

Director Scott Weinstein obviously encouraged his performers to have fun. The choreography (Stephanie Klemons) included a cool segment that was reminiscent of the mechanical bull rides that were popular at the time.

The set design (Jeffrey D. Kmeic) that incorporated the use of projected images and video was very innovative and effective, while the lighting (Greg Hoffman) captured the techno vibe of the era and contributed to the rock and roll atmosphere.

Kudos also to Theresa Ham for some costume surprises and Ray Nardelli for keeping the sound levels appropriate for a theatrical audience while not losing the rock essentials.

Though not timeless, “Rock of Ages” is an energetic fun filled performance that can be enjoyed by ages 13 and up.

DETAILS: “Rock of Ages” is at Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, now through Oct. 15, 2017. For tickets and other information call (630) 530-0111 and visit Drury Lane Theatre.

Guest reviewer Reno Lovison says, “Don’t Stop Believing.”  He is an avocational folky soft-rock singer/acoustic guitarist and video producer who says he was too busy to remember much of the 1980’s.

Reno Lovison is @Renoweb.net

 

Master of Boogie

 

There isn’t a beer hall or gin joint in Chicago with a piano that hasn’t been visited sometime in the past 50 years by the fingers of jazz pianist and boogie master Erwin Helfer.

Boogie master Erwin Helfer Photo credit: iranaydebrecen.hu
Boogie master Erwin Helfer
Photo credit: iranydebrecen.hu

This week we caught up with him at Hungry Brain 2319 W. Belmont Ave., Chicago, where he will be appearing Tuesdays at 7 p.m. through September and possibly longer.

The venue is a clean. old-school style tavern with a mid-century vibe and a sizeable beer list. Wine lovers will find only a red and white choice. They have enough booze to whip up a cocktail if you keep it simple. Cash Only!

Sorry no food, but we skipped around the corner to “90 Miles” on Clybourn and brought back a couple of delicious Cuban sandwiches which I washed down with a Bells Brown Ale while my wife opted for a glass of the “white.”

If you are a lover of straight-up classic jazz with a boogie rhythm, Erwin is “the man.” He’s a pianist’s pianist. I know this because my wife is a pianist she has been a groupie of his for years.

Erwin has a mean left hand that can pound that bookie bass. His improvisations on the right hand are thoughtful but not showy. He is classically trained and has restraint and a love for the songs he plays.

Between the banter and reminiscences of the many legends he has known and performed with, you’ll hear him play several of your favorite melodies like “Georgia on My Mind”, “St. James Infirmary” and “Swanee River Blues” (a variation on “Swanee”). You’ll know “Pinetop Blues” when you hear it and according to his mood you might hear some riffs on gospel standards like “Take My Hand Precious Lord” or a country tune like Hank Williams’ “Jambalaya.”

Erwin Helfer is one of the sweetest guys you’ll ever meet. He is a gentle soul whose temperament is reflected in his music.  At 80+ he still gigs several times a week.  Seeing him wherever he is playing should be on your Chicago bucket list.

If you miss him at Hungry Brain you might check out his upcoming concert with Spanish Blues and Boogie Woogie pianist Lluís Coloma at the Old Town School of Folk Music Oct. 27, 2017 at 7 p.m.

For more information visit Erwin Helfer and Hungry Brain.

-Reno Lovison

Love and Lawlessness

HIGHLY RECOMMENDED

‘Bonnie & Clyde,’ a Kokandy Productions musical now at the Wit Theater, is based on real outlaw lovers. They found nationwide fame during the 1930’s depression for their crime spree across the southwestern U.S. and lower Midwest.

[Spoiler Alert] The couple famously met their end in a police ambush that resulted in perhaps one of the most salacious news photos of all time showing their bullet riddled bodies and car that ironically provided the duo with the notoriety they both craved.

In the second song, “Picture Show,” Young Clyde (Jeff Pierpoint) a psychopathic boy idolizes the notorious outlaw Billy the Kid, introducing himself with his main theme of “Bang Bang You’re Dead.”

Young Bonnie (Tia L. Pinson) sweetly sings of being an “It Girl” like screen star Clara Bow and plans to be a movie star, singer and poet.

In an age progression Clyde Barrow (Max DeTogne) and Bonnie Parker (Desiree Gonzalez) find love,  linked by a mutual goal of fame and fortune that leads to their ultimate destruction.

Desiree Gaonzalez (Bonnie) and Max De Togne (Clyde). Evan Hanover photo
Desiree Gaonzalez (Bonnie) and Max DeTogne (Clyde). Evan Hanover photo

In the context of today’s news cycle these themes of violence are all too familiar and have the potential to make this death-wish love story somewhat uncomfortable. But it does make for good theater, particularly when combined with the music of Frank Wildhorn (Jekyll & Hyde) with lyrics by Don Black (Billy, Sunset Boulevard) and book by Ivan Menchell, performed by an outstanding cast of singers accompanied by a superb four piece orchestra.

Originally presented at La Jolla Playhouse in 2009, and transferred to Broadway in 2011 this Chicago premiere production happens in a now familiar hodgepodge set by Ashley Ann Woods. In this case, it’s designed to represent a farm house, jail, café, bank, church and boudoir. The automobile where the two meet their end is skillfully handled.

The storyline unfolds through a series of songs written in the “modern pop” genre with blues, gospel and rockabilly accents. This does a lot to keep the tension high and action moving but has a negative effect of seeming like it is constantly speeding. This, of course, mimics the fast paced life of the main duo racing through life.

Clyde’s sister-in-law Blanche (Missy Wise) is the voice of reason who provides a welcome respite from the chaos with her tender ballad “That’s What You Call a Dream” and the humorous number “You’re Goin’ Back to Jail” with husband Buck (Justin Tepper) and the Salon Girls.

Max Detogne who appeared in Theo Ubique’s production of ‘Jesus Christ Superstar’ has a voice tailor-made for this genre and infuses Clyde with all of the requisite humor and charm necessary for us to care about the character.

Desiree Gonzalez understands the complexities of Bonnie Parker who establishes early on that she is Clyde’s equal as she manages the character’s vulnerability and ruthlessness

“How ‘Bout a Dance” shows Bonnie’s softer side while the disturbing “Dyin’ Ain’t So Bad” reveals Bonnie’s other side and her commitment to live fast and die young.

Tia L. Pinson is a potential scene stealer (in a good way). She is an “It Girl” who has a charming presence onstage and is someone to keep an eye on.

Kokandy Productions, a Theater Wit resident company, has put together a tight package effectively led by Spencer Neiman (Director) and John Cockerill (Musical Director).

This is an instance where the subject matter on the surface is unsettling. It has the potential to make heroes of criminals and minimize the death and destruction they perpetrated. “Dyin’ Ain’t So Bad” comes dangerously close to romanticizing what is essentially a suicide pact between young lovers.

In the end Bonnie and Clyde is a theatrical performance that explores the need for recognition and love. It explores romantic love, parental love, spiritual love, self-love,  lost love and unrequited love.

Played out in a depression era where many people felt unseen, unvalued and desperate Bonnie Parker and Clyde Barrow decided to reject the society who rejected them and in so doing became sort of perverted ‘Robin Hood’ folk-heroes acting out what others were feeling, thus fulfilling Clyde’s objective, “This World Will Remember Me.”

The mission of Theater Wit is to promote humorous, challenging and intelligent plays. Check, check and check.

DETAILS; Bonnie & Clyde’ is at Theater Wit, 1229 W. Belmont Ave., Chicago, now through Oct. 15, 2017. For tickets and other information visit Theater Wit.

Reno Lovison (renoweb.net)

Hilarious antics and superb choreography make a marvelous Marriott night

HIGHLY RECOMMENDED

‘Honeymoon in Vegas,’ a really nutty, crazily-wonderful musical now at Marriott Theatre, is so clever that it bears comparison to the 1950 Frank Loesser musical, ‘Guys and Dolls.’

Cast of 'Honeymoon in Vegas' at Marriott Theatre Lincolnshire. Liz Lauren photo
Cast of ‘Honeymoon in Vegas’ at Marriott Theatre Lincolnshire. Liz Lauren Photo

The music and lyrics by Jason Robert Brown will not go down in the American Song Book like Loesser’s “I’ll Know” or If I Were a Bell” but the lyrics are so outrageous that they bear careful listening to or descriptions will be missed because the music sounds so romantic and sentimental.

Imagine telling girls to dress up to their “molars” (to rhyme with high stake rollers) or characterizing an overly tanned female skin as “saddle bags.”

Set “Guys and Dolls” down in Vegas but minus the “Save-A Soul Mission”. Then fly the gal that the gambler pursues to Hawaii with him for the weekend instead of Cuba. Have him ply her with rum drinks and then have them fly back to Vegas.

However, the twist in the hilarious ‘Honeynmoon in Vegas,’ is that the guy who has trouble making a commitment is not the professional gambler or a friend like Nathan Detroit, but an ordinary Brooklyn “Joe,” Jack Singer. The problem is that Jack has trouble proposing and sealing the deal at the altar because he says his dead mother put a curse on him so he would never marry.

Samantha Pauly (Betsy) and Michael Mahler (Jack) in 'Honeymoon in Vegas" Liz Lauren photo
Samantha Pauly (Betsy) and Michael Mahler (Jack) in ‘Honeymoon in Vegas” Liz Lauren photo

But Jack agrees to fly to Vegas where gambler Tommy Korman sees Jack’s girlfriend, Betsy Nolan, at the hotel where he hangs out and cons suckers. Tommy thinks she is a double for his dead wife and plots how to marry her.

Betsy is like Nathan’s Adelaid who wants a commitment. But she really wants it from Jack whom she loves so when it comes to succumbing to Tommy wiles, she reverts to a Sarah like  character.

What Chicago audiences are getting from this regional premiere at Marriott is basically the Broadway show.

The musical’s book is by Andrew Bergman who wrote and directed the original film. It is insightfully helmed by Gary Griffin who directed the show on Broadway at the Nederlander Theatre. Marriott’s amazing choreography is by Denis Jones who did the New York show.

Kudos also to Brian Hemesath, costume designer for the Broadway production, for his terrific Elvis grouping and the Tiki style forms in the Garden of disappointed Mothers.

Add to that sterling background, the excellent interpretation of Jack by the multi-talented Chicago veteran actor/composer Michael Mahler, a nicely nuanced portrayal of Betsy by Marriott regular (Eva Peron, et al.) Samantha Pauly, and the perfect depiction of Tommy by Broadway veteran Sean Allan Krill and you have a memorable Marriott production.

Cast of 'Honeymoon in Vegas' at Marriott theatre. Liz Lauren photo
Cast of ‘Honeymoon in Vegas’ at Marriott theatre. Liz Lauren photo

Other notable cast members are Cole Burden as Buddy Rocky leading the entertainment at the hotel and as Roy Bacon, the Elvis leader, Steven Strafford as Tommy’s sidekick Johnny Sandwich and Christine Bunuan as Mahi whom Tommy had divert Jack from pursuing Betsy.

Some of the highlights of the show are whenever  Marya Grandy appears as Jack’s funnily scary mom, Bea Singer, who keeps haunting him, and the “Flying Elvises” who help Jack return to Vegas from Hawaii.

A quick vignette of Jack flying to Hawaii in a middle seat crowded by clowning passengers is so true to life. The scene where flight desk attendants try to redirect him back to Vegas through Atlanta is a riot but hits on another too-true problem with flying anywhere.

‘Honeymoon in Vegas’ is at Marriott theatre, 10 Marriott Dr., Lincolnshire, now through Oct. 15, 2017. For tickets and more information call (847) 634-0200 and visit Marriott Theatre.

 

Dance with your heart, joy and stars

RECOMMENDED

Think creative and experimental when considering the world premiere now at Chicago Dramatists. After all, how many, if any, theatrical productions have a box of stuffed animals, a marriage under duress, touching heartache peppered with clever comedy, toys that come alive as they interact with each other, eclectic music and wild dancing?

They add up to Jayme McGhan’s ‘Still Dance the Stars’ which serves up drama but with a good helping of comedy.

Martel Manning (James) and Ariana Sepulveda (Hope) in 'Still Dance the Stars' at Chicago Dramatists. Tom McGrath photo
Martel Manning (James) and Ariana Sepulveda (Hope) in ‘Still Dance the Stars’ at Chicago Dramatists. Tom McGrath photo

“The third time is the charm,” says Anne as she recalls turning down husband Jame’s first two proposals of marriage.

When he proposes to her a third time at a carnival with a little help from family, friends, music, and dancing, Anne accepts. An entertaining tape of the successful proposal goes viral on you-tube, attracting national attention along with unexpected pressures.

Fast forward six years.  Now the couple is preparing for yet another nationally-televised tell-us –about-your-bliss interview.

The timing is off, however, as their financial woes and personal loss play out across their marital battlefield.

The evening before their interview one drink leads to many others while James opens their box of stuffed animals. The toys grow to human size and proceed to both challenge and comfort the marriage as they begin to resemble family members.

Soon, a fantastical menagerie is stealing the stage: a child as a hippo, the mother-in-law as a giraffe, the father-in-law as a crocodile, a boyfriend as a potato, and others.

The heartache that the couple has endured comes to a peak near the end of the play.  I smiled through my tears at its touching pathos and clever humor, imaginative staging and colorful characters.

I also rocked in my seat to the beat of the music and laughed at the frenzied dancing of the stuffed animals that came to life—life being the essence of ‘Still Dance the Stars,’ especially as celebrated when one character says to another, “You’re my heart, my joy, my star!”

McGahn’s wonderfully unique production is a charming and clever testimony to love and loss and is imaginatively directed by Sarah Norris.

The talented cast includes Martel Manning and Kaycee Jordan of Chicago, Bethany Geraghty, Courtney Knysch, Claudia Campbell, Michael Aguirre, Carl Jaynes, and Dana Martin of NYC and Ariana Sepulveda, Philadelphia.

DETAILS: ‘Still Dance the Stars’ is at Chicago Dramatists, 1105 W. Chicago Ave. now through Sept. 16. For tickets visit BrownPaper.

-Francine Pappadis Friedman

A musical deals with teen identity crises and peer behaviors

RECOMMENDED

‘Trevor, the musical,’ now in its world premier at Writers Theatre, is based on the story behind the Oscar winning short film that led to the Trevor Project, a suicide prevention/crisis intervention initiative for youngsters in the LGBTQ community.

Trevor (Eli Tokash) and classmates in 'Trevor, the musical' at Writers theatre. Michael Brosilow photo
Trevor (Eli Tokash) and classmates in ‘Trevor, the musical’ at Writers Theatre. Michael Brosilow photo

Set in 1981, it reflects the attitudes of the times but just as important, it reflects the kind of general adolescent bullying, cruelty, peer pressure and even parental inattentiveness and misunderstandings that still exists today.

That said, ‘Trevor, the musical’ showcases the amazing talent of Eli Tokash, a young Broadway (‘Finding Neverland, ‘Pippin’) actor who performs with the grace and style of Fred Astaire,

Tokash as Trevor, wants to be writing, directing, choreographing and playing in musical theater in 10 years. But his current goal as a 13-year-old in his last year of a suburban junior high, he wants to perform in the school’s annual talent show or direct the eighth grade football team in a dance number he devises.

It’s acceptable to Pinky, the team’s captain, perfectly portrayed by Declan Desmond as a guy who would rather dance a Fred Astaire type number than parade around in a pink tutu that past teams had to wear for the show.

While working with Pinky, Trevor realizes he has a crush on the football star. Also, while trying to prove he likes girls, he goes to a smooching spot with Cathy, delightfully played, glasses, braces rubber bands and all, by Tori Whaples.

As they try to kiss, Trevor realizes he isn’t interested even though Cathy is.

The kicker that throws his life into suicide mode comes when his best friend, Walter, nicely acted by Matthew Uzarrage, gives Trevor’s journal to Mary (Eloise Lushina). She reads Trevor’s notes about Pinky to her friends and gives the journal to the football team.

Trevor fantasizes about his funeral. He wants Diana Ross’ “Endless Love” to be playing.

Although not really a jukebox musical because many of the songs are by Wick Davis (music) and Dan Collins (book and lyrics), the show spotlights Trevor’s adoration for Ross’ music and philosophy.

Performed beautifully by the talented Salisha Thomas (‘Beautiful: The Carole King Musical,’  vocalist for Disney) she sings many Ross hits  throughout the show beginning with “Do You Know?”

“Beautiful” director Marc Bruni has brought his seamless touch to this production which has aspirations of moving on to Broadway. Expertly choreographed by Josh Prince (also “Beautiful”) it likely will get there.

However, given the seriousness of its theme, at a mere two hours and 10 minuets, there is room to expand the tension surrounding the teens, adults and anyone who doesn’t fit the attitudes and models of the times.

‘Trevor’ is at Writers Theatre, 325 Tudor Court, Glencoe, now through Sept. 17, 2017. For tickets and other information call  (847) 242-6000) and visit Writers Theatre.

 

Gypsy still comes up Rose and roses

RECOMMENDED

Knowing how vaudeville acts had to move around to make a living or even how current performers continue to do so, it’s easy to understand they live what is thought of as a gypsy life.

Mary Robin Roth (Rose) and Lexis Danca (Louise) in 'Gypsy' at Music Theater Works. p[hoto by Brett Beiner
Mary Robin Roth (Rose) and Lexis Danca (Louise) in ‘Gypsy’ at Music Theater Works. photo by Brett Beiner
But when hearing ‘Gypsy’ capitalized as in the 1959 Broadway hit by Jule Styne (music), Stephen Sondheim (lyrics) and Arthur Laurents (book), you are likely to think Ethel Merman as the indomitable stage mother of entertainer Gypsy Rose Lee and actress June Havoc.

In the Music Theater Works production of  ‘Gypsy,’ Mary Robin Roth is so believable as Rose, an over-the-top stage mother, that her character is not easy to like. Indeed, a few theater-goers might equate how she directed her daughter’s lives with their own experience.

However this is the show Merman arguable made famous with her brash portrayal of Rose so, everyone can expect Roth to belt out commands and the show’s famed “Everything’s Coming up Roses.” They won’t be disappointed.

It’s also fun to watch the incredible transformation of Louise, the shy, unimposing elder sister of Baby June into the renowned burlesque entertainer, Gypsy Rose Lee, a sophisticated and striking strip tease vedette.

Along the way there is the charming voice of Sophie Kagi as the young Baby June, the boys who march with her in the early stage troupe and the talented young lads who accompany the older June (Rosie Jo Neddy) as an aging troupe. They’re featured in several fine dance numbers choreographed by Clayton Cross.

The evolution from young troupe to older was amazingly accomplished in a whirling, order-in-chaos dance scene thanks to Cross, stage director Rudy Hogenmiller and lighting designer Andrew H. Meyers.

In addition, Russell Alan Rowe is the long suffering Herbie who loves Rose, acts as the troupe’s agent and is sensitive to the needs of the boys and Louise.

The musical is based on the memoirs of Gypsy Rose Lee who was also an author and actress (“Stage Door Canteen” 1949).

‘Gypsy’ is at Music Theater Works (formerly Light Opera Works) now through Aug. 27, 2017. The show is in Northwestern University’s Cahn Auditorium at 600 Emerson St. at Sheridan Road. For tickets and other information visit the box office at 516 4th St., Wilmette, call (847) 920-5360 or visit Music Theater Works.

 

Free for one moment

 

HIGHLY RECOMMENDED

 

Many issues that women dealt with a century ago still hang over their heads and affect their lives, work, families and relationships.  From wanting to feel protected while searching for freedom to embracing dreams while being steered toward stereotypical roles, women continue to struggle against being controlled.

Maddie Burke, l, Heather Chrisler and Scott Shimizu in 'Machinal' at Greenhouse Theater. Photo by Evan Hanover
Maddie Burke, L, Heather Chrisler and Scott Shimizu in ‘Machinal’ at Greenhouse Theater. Photo by Evan Hanover

These issues are front and center in the Greenhouse Theater Center’s compelling revival of “Machinal,”a play by Sophie Treadwell that hit Broadway in 1928.

The play is based on the life and trial of Ruth Snyder, a ruthless and manipulative murderess who, with her lover, killed her husband for a double indemnity insurance payout. But Machinal’s protagonist, “Young Woman,” portrayed by Heather Chrisler, is nothing like the real Ruth Snyder.

She garners the audience’s empathy as she encounters the demands of a rigid and unfriendly workplace and a life of struggles to support her mother.

In the midst of an argument over whom she should marry, she asks her overbearing mother, “Did you love Pa?”  Her mother replies, “I suppose I did . . . I don’t remember.  What difference does it make?” The mother pushes her daughter into marrying a man for financial gain.

Years later, feeling trapped in a loveless marriage, Young Woman’s goal is to free herself from captivity.

Chrisler does an excellent job as she captures the complexity of the main character and the challenges faced.  She portrays a frightened woman who follows the daily rules of work, marries someone whom she doesn’t love, gives birth to a child she doesn’t want, pleads with everyone to “Let me alone” and eventually finds a lover outside of her marriage who contributes to her ultimate demise.

The nine other cast members are wonderful as they play multiple roles including Young Woman’s co-workers, mother, husband, lover, doctors, nurses, trial lawyers, reporters and priest.

With minimal props on a stage devoid of scenery, the ensemble lights up the audience’s imagination in innovative ways that draw them into this mesmerizing story—a story that ends with Young Woman declaring, “I wanted to be free.  I wanted him out of the way. It made me free for one moment!”

Directed by Jacob Harvey with movement by Elizabeth Margolius, Machinal is a play that addresses the balancing act that women have long attempted.

DETAILS: “Machinal” is at Greenhouse Theater Center (Upstairs Main Stage), 2257 N. Lincoln Ave., Chicago through Sept. 24, 2017.  For tickets and other information visit Greenhouse Theater or call (773) 404-7336.

-Francine Pappadis Friedman

 

 

Four Wisconsin artists exhibit in Pilsen

The Pilsen area on the near south side of Chicago has been evolving into a significant arts destination, partly due to the presence of the Chicago Arts District on Halsted Street and the National Museum of Mexican Art which is a kind of anchor for the neighborhood’s art community.

A number of small art galleries there are gathering attention and contributing to Chicago’s vibrant urban art scene including the LALUZ Gallery on 18th Street.

Four Wisconsin artists are featured in newest LALUZ Gallery show.
Four Wisconsin artists are featured in newest LALUZ Gallery show.

On Saturday, Aug. 12, 2017, LALUZ  Gallery opened its newest show, “Visions of Wisconson” to feature artists Sara Strozinsky, Anne Horjus, Katie Schofield and Laura Annis.

The four artists who have distinctly different aesthetics are friends and collaborators from the Baraboo/Madison area.

Watercolors depicting calming close-up views of Wisconsin prairie grass, watery rocks and trees by artist Sara Strozinsky offer a sharp contrast to the bustling Ashland Avenue traffic just outside the door.

Dutch born artist and current Wisconsin resident Anne (pronounced ON-eh) Horjus is exhibiting two series, each inspired by the choral works of composer Eric Whitacre. Horjus is a singer and a visual artist, so working the two disciplines together is a natural fit for him.

His first series entitled “Sleep” combines fine-lined sketch work with muted colors that depict the thoughts of a slumbering boy.  Done in black Derwent pencils and airbrush it has a wonderfully light touch. “Sleep” is now available in  book form with a poem by Charles Anthony Silvestri and includes a link to Whitacre’s musical composition.

The artist’s second series, bolder with more highly-saturated colors, is “Leonardo Dreams of his Flying Machine.” Inspired by the works of DaVinci, it complements another Whitacre composition.

When viewed side by side it is difficult to imagine that they are works by the same artist, but Horjus is nothing if not versatile. Friends describe him as a “Renaissance Man.”

The show also features the works of artist Katie Schofield who is primarily known for her natural forms that usually are showcased in outdoor venues, and Laura Annis’ known for her bold colors to depict nature and mythology in an animation/illustration style.

“Visions of Wisconsin” at LALUZ  Gallery 1545 W. 18th Street. through September 2, 2017. For hours and other information visit LALUZ  or call (312) 401-344.

Reno Lovison