An irreverent priest, tale weaving drinking buddy, sex starved fiancé and infirm old mother make up some of those attending Flanagan’s Wake now at Chicago Theater Works.
Cast of Flanagan’s Wake, an interactive experience at Chicago Theater Works.
Flanagan has sadly passed, and you, along with a small cast of characters and about 50 other mourners are invited to attend his wake.
The room is outfitted much like a church basement community room or banquet hall with a small stage on one side and an open bar complete with bartender, who also happens to be the town’s mayor, on the other. Drinks are available for purchase before and during the proceedings.
When you enter you might be greeted by any of the cast who interact with the audience in character and will craftily weave what information they have learned from you into the performance. They may ask questions such as, “how you happen to know Flanagan” and “what you remember about him.”
This is an interactive improvisational performance so come in a good mood and be ready to participate. It is the type of experience that can be particularly fun with a small group of friends.
The audience is seated at tables of six or eight much like any large social gathering. If you come as a party of two you will likely be seated with four other people. We had a good time at our table of six comprised of three groups of two.
Like any improv experience the humor is sophomoric at times; clever and inspired at others. The cast is capable and it is clear that they are well practiced at their craft.
The highlight for me a was clever ditty composed by the grieving fiancée, Fiona Finn, that was created on the spot based on an idea from an audience member.
This is not high humor or great theater but if you are looking for an alternative to a sports bar, maybe a date night or just some good laughs with a few friends, what can be funnier than attending an Irish wake, at least if it is Flanagan’s Wake.
DETAILS: ‘Flanagan’s Wake’ at Chicago Theater Works, 1113 West Belmont, Chicago, runs through Nov. 9, 2017. For tickets and other information visit Chicago Theater Works.
Guest reviewer Reno Lovison is not Irish but always happy to share a Guinness with some mates.
Several stage productions gladden the December holiday season and there are romantic comedies perfect for February. But when it comes to October, there’s usually a dearth of plays that chill the soul. Not so, this October with three classics to see.
The ‘Man-Beast’ at First Folio Theatre fits the haunting season. Photo from First Folio.
‘The Crucible’
Steppenwolf Theatre Company is doing Arthur Miller’s 1953 scary in a what-can-happen way when seemingly normal neighbors believe the stories behind the Salem Witch Trials. The play is part of the Steppenwolf for Young Adults series but it really is a play for all generations. Running for only eight public performances from Oct. 4 through Oct. 21, 2017, it’s a chilling reminder of how fake news can spread as if true and the harm it can do. For tickets ($20 general and $15 students) visit Steppenwolf or call (312) 335-1650. Steppenwolf Theatre Company is at 1650 N. Halsted St. Chicago.
‘The Man-Beast’
First Folio Theatre at the possibly haunted Mayslake Peabody Estate, is doing the world premiere of Joseph Zettelmaier’s ‘The Man-Beast.’ Based on a French legendary werewolf, it’s the third play in his triology of ‘The Gravedigger’ and ‘Dr. Seward’s Dracula.’ The play runs from Oct. 7 through Nov. 5, 2017. Get tickets if you dare see it at First Folio or by calling (630) 986-8067. Located in a Du Page County forest preserve, First Folio is at 31st St. and Rt. 83 in Oak Brook.
‘GHOSTS & zombies’
Henrik Ibsen’s “Ghosts,” a drams that starts out innocently enough with a woman opening an orphanage as a tribute to her dead husband, becomes a dark comedy in the hands of writer Gustav Tegby. Translated by Chad Eric Bergman, the play takes a strange turn when the woman’s estate hosts ghosts and the un-dead. The play is presented by Akvavit Theatre at the Strawdog Theatre Company now through Oct. 29, 2017. For tickets go to Chicago Nordic. Strawdog Theatre Company is at 1802 W. Berenice, Chicago.
Thornton Wilder’s classic ‘Our Town,’ now at Redtwist Theatre, is a slice-of-life drama that asks us to ponder our place in the universe while pausing to appreciate the seemingly mundane interactions and events that comprise the bulk of our days and which ultimately define our existence.
Jaq Seifert (George Gibbs) and Elena Victoria Feliz (Emily Webb) in ‘Our Town’ is at Redtwist Theatre through Oct. 29, 2017. (Photo by Jan Ellen Graves)
Divided into three acts with two ten minute intermissions, act one presents the town and the characters with an emphasis on birth and youth. Act two deals with love and marriage. The last act addresses the inevitable experience of death.
The story line is facilitated by a character known as the “Stage Manager” (Richard Costes) who introduces each of the other players. He fills us in on the physical attributes of the fictional Grover’s Corners, NH that is supposed to remind us of our own town.
Written in 1938. The time frame is identified as roughly 1901 to 1913 but it can really be anyplace anywhere in America at any time.
The pre-WWI period harkens back to a simpler pre-industrial agrarian era that serves to remind us of the essence of living when days were marked by the rising and setting of the sun and the meals in between.
Mr. Costes is the first of the play’s trifecta of winning performers. The other two are Emily Webb (Elena Victoria Feliz) and George Gibbs (Jaq Seifert) who each turned in remarkable performances.
On some level the success of “Our Town” traditionally hinges on the actors in these three major roles. But in the Redtwist production the entire cast offered tight performances. A few honorable mentions to Rebecca Gibbs (Ada Grey), Professor Willard (Rebecca Flores), Mrs. Soames (Jared Michael David Grant) and Mrs. Webb (played by understudy Jeanne Scurek) who each stood out in some way.
This is the directorial debut of the company’s Associate Artistic Director, James Fleming, who with Scenic Designer Lizzie Bracken managed an innovative visual presentation in a somewhat awkward space.
The Redtwist is a storefront theatre meaning that the dimensions are long and narrow leaving little room for a traditional proscenium stage other than a small roughly ten foot by ten foot riser at one end of the room. The company overcomes this by creating three or four loosely defined minimalist scenic areas throughout the room.
The roughly 35 seat audience is then snuggled along the perimeter, in between, and around these spaces. This leaves the center open for the main action. So it’s like a performance in-the-round with the audience on stage. The important thing is that it works.
“Color blind” casting is no longer unusual but Fleming has elevated the concept in this production by extending it to include gender neutral roles and actors with limited physical abilities.
For instance the part of milkman Howie Newsome is played by Joel Rodriguez who happens to be confined to a motorized wheelchair. Joel uses his chair brilliantly to infer the presence of his horse and milk wagon. It’s not necessary nor is it overt but it works because he is simply incorporating who he is as a person into his role as an actor.
“Stage Manager” (Richard Costes) happens to be hearing impaired. But this is incidental to his performance which would be excellent under any circumstances.
He periodically uses his skill at sign language to provide us with a visual enhancement of the point he is making or a town attribute he is describing. (Note: he is not signing his entire performance but occasionally enhances the depth of his communication.)
The character of Mrs. Soames (Jared Michael David Grant) is perhaps the most gender bending role. Mr. Grant plays the part of a female character but not in drag. He wears a simple man’s suit and looks perfectly male.
Though admittedly a bit confusing at first, I came to believe that Fleming wants us to put aside our role bias and expectations and simply enjoy the performance. In other words, be color blind, be gender blind, be ability blind and simply accept what each actor has to offer and accept that they are the characters they say they are.
As was pointed out by someone after the performance, “This cast represents our town.”
DETAILS: ‘Our Town’ runs through October 29, 2017 at the Redtwist Theatre, 1044 W. Bryn Mawr, Chicago, IL 60660. For tickets call (773) 728-7529.
A Drag Queen walks into a bar. That may sound like the beginning of a joke. But when Drag Queen, Miss Tracy Mills, played with verve and empathy by Sean Blake, struts into his cousin’s bar in Panama City, FL, he changes the life of Casey, an impoverished Elvis impersonator.
Casey (Nate Santana) is transformed into Georgia McBride by Miss Tracy Mills (Sean Blake). (Michael Brosilow photo)
The story, a play written by Matthew Lopez now at Northlight Theatre, is ‘The Legend of Georgia McBride,’ a fun, revelatory, entertaining show on how a person can adapt to a new persona and enjoy it.
Casey, interpreted brilliantly by Nate Santana, loves performing as Elvis but his act doesn’t pay the rent and wife Jo (Lesle Ann Sheppard) has announced she is pregnant.
While changing for his Elvis act, Casey is surprised when Tracy walks in ready to go on stage. Bar owner Eddie, played with bumbling charm by Keith Kupferer, hasn’t yet told Casey that he’s being replaced because his Elvis act isn’t drawing well.
In a star-is-born style success story, the other half of Tracy’s act, Rexy, delightfully acted by Jeff Kurysz with a mix of Italian and French accents and words, falls down drunk so can’t go on.
Casey not only doesn’t want to put on a dress, he also doesn’t believe he can perform in drag. When told that filling in for Rexy is the only way he will perform in this bar and that he might even take home some cash, he lets Tracy dress him and add his make-up and a wig.
The transformation doesn’t happen overnight but becomes easier and better with each performance until Casey realizes he enjoys performing on stage as the bar’s newest Drag star.
Casey (Nate Santana),l, and Eddie (Keith Kupfere) are back stage with Rexy (Jeff Kurysz) before a show. (Michael Brosilow photo)
Rachel Laritz’s costumes help make the show believable and fun to watch. Choreographed by Chris Carter, the bar acts of Casey as Georgia McBride and that of Tracy make the time go so quickly it’s a surprise when the play ends.
The kicker is that even though he is bringing home more than enough money now to pay the bills and really enjoys what he is doing, Casey has trouble telling Jo about his job. He is afraid to say he is performing in a Drag show.
Maybe he needed something such as Northlight’s program which exlains several terms used by Drag performers.
For Drag Queen, it says “someone who performs femininity theatrically. In many cases this term refers to a man who dresses up as a woman for entertainment purposes.”
Directed by Lauren Shouse, the play provides nice behind-the-scenes insight into Drag dressing and performing.
DETAILS: ‘The Legend of Georgia McBride’ is at Northlight Theatre, 9501 Skokie Blvd., Skokie, through Oct. 22, 2017. Running time: 1 hour, 45 min. with no intermission. For tickets and other information call (847) 673-6300 and visit Northlight.
There is no question that Goodman Theatre has opened its 2017-18 season with a very special production of Arthur Miller’s ‘A View From The Bridge.’
Cast of ‘A View From The Bridge’ at Goodman Theatre. (Liz Lauren photo)
How you feel about this production will depend on whether you are comfortable with an intense, minimalist concept as developed by Director Ivo Van Hove within a severe black box, or if you relate better to a story told on a stage with scenery and possibly video and other set accoutrements that establish time and place.
Set in an Italian American area near the Brooklyn Bridge in a 1950’s America that is not immigration-friendly (sound familiar?), the play is supposedly based on a true tragedy.
Its theme, a married man becoming so obsessed with a niece living with them that he will go to any lengths to ward off possible suitors, belongs in the Greek Tragedy genre.
Take away the wife’s illegal Italian family members who have come to live with them, and the story is still about a husband’s obsession.
Similar to a Greek play, the show opens with the sounds of a beautiful but foreboding chorus. However, it is not the chorus that explains the action but Alfieri, interpreted perfectly by Ezra Knight.
Alfieri is an attorney who notes that dissatisfaction and disagreements are supposed to be handled by a lawyer as a bridge that meets halfway between combatants.
When Eddie (Ian Bedford), a dock worker who tries to keep his niece, Catherine (Catherine Combs), first from taking a job, and then from going out with Rodolpho (Daniel Abeles), one of the two relatives who are staying with them, he learns from Alfieri that he can’t stop them from dating.
Eddie’s wife, Beatrice (Andrus Nichols) who can see what is happening tries to intervene but to no avail.
Eddie is told that the only action might be to report his wife’s cousins, Rodolpho and Marco (Brandon Espinoza) to immigration but he knows he will then become a pariah in the Italian community if he does so.
Low, ominous sounding background music plus the elimination of any intermission between the play’s two acts, heightens the feeling of doom.
DETAILS: “A View From The Bridge” is at Goodman Theatre, 170 N. Dearborn St., now through Oct. 22, 2017. Running time : 2 hours. For tickets and other information call (312) 443-4800 and visit Goodman Theatre.
It is always a treat to see longtime Steppenwolf actors John Mahoney or Francis Guinan in a play. In ‘The Rembrandt,’ now in Steppenwolf’s Upstairs Theatre, audiences get both outstanding actors.
Karen Rodriguz (Madeline), l, Francis Guinan (Henry) c, and Ty Olwin (Dodger), r, stare at a Rembrandt painting hanging in a museum in ‘The Rembrandt’ at Steppenwolf Theatre. Michael Brosilow photos
Written by playwright/actor Jessica Dickey, the premise seems to be that art in a museum may affect viewers whether they are guards or visitors, not just differently, but also on a more sublime level.
Guinan as Henry, a museum guard whose duties include looking for any problem nicks, can imagine the paintings coming alive at night. He thinks their artists may even converse with each other.
Gabriel Ruiz as gun-carrying security guard Jonny, is Simon’s friend but he sees his job as protecting the paintings.
The two approaches clash when Henry is encouraged to touch the Rembrandt by both a new, rule-defying, apprentice/guard, Dodger, played by Ty Olwin, and by copyist Madeline, portrayed with humor by Karen Rodriguez.
That happens even though Madeline earlier discouraged such an idea when proposed by Dodger because fingers contain harmful substances.
After discussing elements of the painting the three of them do touch it. The next scene is in Rembrandt’s house. It’s as if touching the painting opened a portal to its historic past.
A note about historic accuracy: 17th century Dutch Master Rembrandt van Rijn did favor the black and muted colors except for his famed luminescent whitish tones as mentioned in the play. But unlike the reference to blue, he did use blue shades though primarily in his biblical and mythological subjects.
Francis Guinan (Rembrandt) works on a painting for an Italian art patron while Ty Olwin (Titus) looks on.
And yes, in spite of the nice commissions given to this master painter, he did over spend so ended up in debt as referred to in the play.
The portal idea continues when Olwin, now Rembrandt’s son, Titus, touches a bust of Homer that supposedly was in the painting and in Rembrandt’s home.
The next scene is a soliloquy by Mahoney as Homer expounding on the merits of poetry.
The final scene is at Henry’s home where he is disconsolate with grief and guilt as he sits at the sick bed of his longtime partner, Simon (Mahoney) who is dying with stage four cancer.
That scene clarifies the play’s underlying themes of grief, death and love.
Madeline had taken the art course that brought her to the museum because the grandmother who cared for her had become ill and recently died.
She felt love, grief and also guilt that she thought death was OK because her grandmother had deteriorated so much.
Henry who dearly loved Simon, experienced remorse for not being a more considerate partner when Simon was healthy.
John Mahoney (Simon) l, and Francis Guinan (Henry) in ‘The Rembrandt’ at Steppenwolf.
In the Rembrandt home scene, Rodriguez who is now Rembrandt’s lover, Henny, demonstrates her love and Titus expresses love for his father while remonstrating against his spending excesses.
Well directed by Hallie Gordon with excellent set design by Regina Garcia and fine costume design by Jenny Mannis, the play raises interesting ideas to ponder about art and personal relationships.
‘The Rembrandt’ is at Steppenwolf’s Upstairs Theatre, 1650 N. Halsted, Chicago, through Nov. 5, 2017. Francis Guinan is Henry and Rembrandt through Oct. 22. The role will be then be taken on by Joe Dempsey through the last performance. For tickets and other information call (312) 335-1650 and visit Steppenwolf.
George Orwell’s famous novel, “1984,” is likely to haunt audiences in AstonRep Theatre Company’s interpretation of the story, now at The Raven Theatre.
The production is powerful and provocative as wonderfully convincing characters transport the audience to the frightening nation of Oceania.
Adapted by Robert Owens, Wilton E. Hall Jr. and William A. Miles Jr. and directed by Robert Tobin, the play mentions and defines Orwell’s phrases such as the famed “Big Brother is watching you.”
Sarah Lo (Julia) and Ray Kasper (Winston) in AstonRep Theatre Company’s ‘1984’ at The Raven Theatre. Photo by Emily Schwartz
Then there is “Newspeak” as the official politically correct language of Oceania, “Crimethink” for thoughts that oppose the government of Big Brother, “Goodthink” that are thoughts approved by the Party and “Doublethink” for the power to simultaneously hold and accept contradictory beliefs in one’s mind.
On that subject of power, the Party controls everything in Oceania, even the people’s history and language.
The leading character, Winston Smith, is played by Ray Kasper whose amazing talent covers a wide range of emotion. Winston is a low-ranking member of the ruling Party in London in the land of Oceania.
Everywhere Winston goes, the Party watches him through telescreens. And everywhere he looks, Winston sees the face of the Party’s seemingly supreme leader, Big Brother.
Frustrated by the rigid oppression of the Party which prohibits free thinking and all other expressions of individuality, Winston writes his criminal thoughts in his illegally purchased diary.
He interacts with a beautiful co-worker, Julia, skillfully played by Sarah Lo. Practical and optimistic, Julia becomes Winston’s lover.
The two of them move into a room above a store where they temporarily feel hidden from the watchful eyes of Big Brother. As Winston’s love for Julia progresses, his hatred for the Party grows more intense.
Winston becomes fixated on O’Brien, a mysterious upper class member of the Inner Party, powerfully portrayed by Amy Kasper. Winston believes O’Brien is a secret member of the Brotherhood, the legendary group that works to overthrow the Party.
He finally receives the message that he has been waiting for. O’Brien wants to see him.
Winston and Julia travel to O’Brien’s grand apartment where O’Brien is living a life of luxury. O’Brien sends Winston off with a copy of the manifesto of the Brotherhood which Winston excitedly reads to Julia in their room above the store.
Not to divulge the rest of the play to those unfamiliar with Orwell’s novel, Winston learns the bitter truth about many of the characters. The suffering he endures in the terrifying second act changes him forever.
The remainder of the very talented cast includes the following: Alexandra Bennett, Lauren Demerath, Lorraine Freund, Ian Harris, Rory Jobst, Tim Larson, Nora Lise Ulrey, and Sara Pavlak McGuire.
To quote director Robert Tobin: “. . . the power of ‘1984’ serves best not necessarily as commentary on current events but rather as a warning. Like a preventative medical screening, we need ‘1984’ as warning of what our world could become if we don’t take care of ourselves, our government, and each other.”
Details: ‘1984, an AstonRep Theatre Company production is at The Raven Theatre (West Stage), 6157 N. Clark St., Chicago, through Oct. 8, 2017. For tickets and other information call (773) 828-9129 and visit AstonRep.
Nicholas Harazin plays “the father of rock and roll,” Sam Phillips, under the classic image of Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash shot at Phillips’s Sun Studio on December 4, 1956. Liz Lauren photo
Go to Paramount Theatre’s ‘Million Dollar Quartet’ if you love Johnny Cash. Go if you appreciate really good boogie piano. Or go if you are interested in the Sam Phillip’s Sun Studio’s handling of Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis.
It’s nice to have the show back in the Chicago area, if even for its short, little over a month, duration.
The story, captured in a photo and on tape at Sun Records Studio, Memphis, tells of the only time that four of Sam Phillip’s top stars jammed together.
They happened to stop by his recording studio when Carl Perkins was supposed to be taping. Some were going to tell Phillips that they were not renewing their contract but Lewis was looking for a long contract at Sun.
The important incident was turned into a “jukebox” show of great mid-last century songs by Floyd Mutrux who wrote the book with Colin Escott and directed the original productions.
Started in Daytona Beach in 2006 before going to Seattle in 2007, the show was developed further at the Goodman Theatre in fall 2008.
It transferred to the Apollo Theatre where it ran until recently, closing early in 2016. But the original cast went on to NYC where ‘Million Dollar Quartet’ ran on Broadway from mid 2010 to mid 2011 while still playing the Apollo. It brought Levi Kreis a Tony Award as Jerry Lee Lewis.
The phrase “blown away” is often used but that was how I felt when seeing Kreis. Paramount guests will feel the same way when watching Gavin Rohrer as Lewis. Rohrer is incredible. He has already portrayed Lewis in two other shows including the Lyric Theatre of Oklahoma.
Nor will long time fans of Johnny Cash feel cheated when they see Bill Scott Sheets in the role. An operatic baritone who has all played such musical theatre rolls as Don Quixote, Sheets nails Cash’s sound and microphone approach.
Chicago set designer Kevin Depinet has recreated Sam Phillips’s original Sun Records studio in Memphis – where Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins played together their first and only time. Liz Lauren photo
While some rockabilly aficionados might know that “Blue Suede Shoes” was written by Perkins who epitomized the genre, the fact that his hit song was closely identified with Elvis Presley is important to the show.
That frustration comes across with Broadway actor Adam Wesley Brown, a veteran of Chicago theatre and film, taking on the role of Perkins with the characteristic knee raise and emphasis.
It’s easy to see that Kavan Hashemian who has appeared in other ‘Million Dollar Quartet’ productions as Elvis, really enjoys the role. He has the moves down pat and can probably sing the songs in his sleep because he has been performing them since age three.
The surprise of the Paramount show which is all about male performers, is the wonderful turn as Elvis’ girlfriend, Dyanne, by Courtney Mack. Her “Fever” in Act I and “I Hear You Knockin” in Act II, brings the house down. Of course, Paramount regulars likely remember her from “Mamma Mia”
Paramount Theatre’s 2017-18 Broadway Series opener Million Dollar Quartet stars (from left) Gavin Rohrer as Jerry Lee Lewis, Adam Wesley Brown as Carl Perkins, Kavan Hashemian as Elvis Presley, Bill Scott Sheets as Johnny Cash, Courtney Mack as Dyanne and Nicholas Harazin as Sam Phillips. Liz Lauren photo
Another unexpected musical treat comes when Zach Lentino as Perkins’ brother Jay shows off his skills as an upright bassist. BTW Lentino was in ‘Million Dollar Quartet at the Apollo.
Drummer Scott Simon who plays in several Chicago productions is Fluke, a member of Perkins’ group. He’s excellent but not really noticed until near the end.
Perhaps the most unappreciated role in the show is that of Sam Phillips. Played by Nicholas Harzain, a film actor who is also in several regional shows, Phillips comes across as a hard-working, small-town, talent developer.
A note about Kevin Depinet’s set design: folks who have been to Memphis and walked through what is now, basically a museum, know Depinet has totally captured Sun Studio.
Directed by Jim Corti with music direction by Kory Danielson, ‘Million Dollar Quartet’ has a “Whole Lotta Shakin’ Goin’ On.”
DETAILS: ‘Million Dollar Quartet’ is at Paramount Theatre, 23 Galena Blvd., Aurora, now through Oct. 29, 2017. Running time is two hours. For tickets and other information visit Paramount or call (630) 896- 6666.
If from the generation that became addicted to the “Beverly Hills 90210” television series, you’ll appreciate the references and characterizations in the musical ‘90210’ now touring the United States.
Cast of ‘90210’ now at Broadway Playhouse at Water Tower Place, Chicago.
Cobbled together by Bob and Tobly McSmith with music by Assaf Gleizner, the show is a parody and it is funny.
Songs proclaim the life-style of spoiled rich kids (and their parents) in LA’s iconic 90210 zip code.
The show deals with some of the drama, however without empathy for teenage problems.
And if looking for clever dialogue, forget it. The script relies on juvenile humor.
But if merely interested in what a popular teen series in the 90s looks like as a campy show, you’ll probably like it and for sure will laugh.
The best part of the show is the singing voice of Ana Maru as Brenda Walsh, a new girl in town from the Midwest.
DETAILS: ‘Bob and Tobly’s Beverly Hills 90210 The Musical (The unauthorized parody)’ is at the Broadway Playhouse at Water Tower Place, 175 E. Chestnut St. Chicago, Sept. 13 – 17, 2017. For tickets and other information call (800) 775 -2000 and visit BroadwayinChicago.
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
“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.
