Hesperia by Randall Colburn at Writers' Theatre

Directed by Stuart Carden

At Writers’ Theatre, Glencoe

The clash of religion and sexual desires plays out in small town America

Playwright Randall Colburn’s drama about small town religion’s redemptive powers to ‘save’ two porn stars is a stretch at best.  Inadvertently,  Hesperia (the small town’s name) both mocks and plays homage to the effects of over indulgence in Christian Fundamentalist beliefs. The Writers’ Theatre production is the second mounting of Hesperia.

When Claudia (aka Jessica) (played by Kelly O’ Sullivan) appears as a sweet innocent women  engaged to the youth preacher Trick (Erik Hellman) – possessing a God complex of the first order – we quickly see that she has a seedy past when her ex-lover and porn movie star partner Ian (Nathan Hosner) arrives in Hesperia after  Claudia invited him to her wedding. If Claudia/Jessica wanted to leave her past, why would she invite him to her wedding?

We meet Trick as the bible-quoting self-appointed savior of all who he encounters. Although he appears as sincere in his beliefs, there is a hidden arrogance and  self-delusional element to his make up. When he “forgives” others for their transgressions from Fundamental Christianity, he comes off with a messianic complex. Is he a mensch or a dangerous zealot? As played by Erik Hellman, we are never sure. (Terrific work by the talented Hellman.)

When Ian arrives, Trick welcomes him and allows him to sleep in his garage. Claudia is uneasy with Ian fearing that her past (know only to Trick) will haunt her and make her redemption and upcoming marriage impossible. Ian, subtly played by Nathan Hosner, quickly becomes enamored with the religious atmosphere surrounding Claudia and Trick. Is Ian really interested in being ‘saved’ or is he simply trying to get close to Claudia who he still loves? Hosner hides Ian’s motivation as he appears sincere.

We also meet Aaron, a horny, bible-quoting teen believer more confused that enlightened by his raging hormones. Tyler Ross is perfect as the naive religiously confused teen. When he finds a DVD of Ian and Claudis ‘performing sex,’ Aaron becomes more troubled as his beliefs conflict with his human urges.

While playwright Colburn vividly dramatizes the stilting Christian beliefs including Dasiy’s  (Rebecca Buller) sexual attraction to Ian and Aaron’s confusion, he seems have both Ian and Claudia insincerely using the Christian beliefs more as an escape from their past sins than belief in an all-powering God. The contradictory behavior of Ian is a clue since Ian wants Claudia back, wants to be saved and he wants to have sex with Daisy.

Also Claudia is torn between her past as exemplified bu Ian’s presence and her desire for a secure life with her preacher man.  Trick’s knowledge of Claudia’s past doesn’t hamper him from marrying her. Strangely, on their wedding day, Claudia is ‘turned-off’ my Trick’s sexual advances at first. Why? Trick only wants to show his love and consummate the marriage. Strange.

Colburn’s script still needs clarity and depth of character but it plays as an honest look at rural America in the grips of Christian Fundamentalism. He expresses an original voice to the complex reality of love, sex, and religion. This show features terrific work by Erik Hellman and Nathan Hosner. It sure exposes the warts of Fundamental Christianity. Definitely worth a look.

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date  Reviewed: February 2, 2012

Jeff Recommended

For more info checkout the Hesperia page on theatreinchicago.com

At Writers’ Theatre, 325  Tudor Ct, Glencoe, IL, call 847-242-6000, www.writerstheatre.org, tickets $45 – $65, Tuesdays at 7:30 pm, Wednesdays at 2 & 7:30 pm,  Thursdays & Fridays at 8 pm, Saturdays at 4 & 8 pm, Sundays at 2 & 6 pm, running time is 90 minutes without an intermission, through March 18, 2012

Co-created and co-directed

by Jessica Thebus

and Frank Maugeri

Adapted by Jessica Thebus

Design by Frank Maugeri

based on the play by Shakespeare

At Chicago Shakespeare Upstairs Theatre, Chicago

Fascinating and most engaging take on Shakespeare’s last play worth seeing

With Jessica Thebus adaptation of The Tempest and her co-direction and co-creation with Redmoon’s Frank Maugeri, the resulting The Feast: an intimate Tempest is a unique art piece utilizing some text with puppets, video, music,  masks,  and a banquet table made in a cross with moving slats. We find Prospero (John Judd), the Duke of Milian using his books and his magic to seek revenge with the aid of his two slaves: Ariel (Samuel Taylor) a passive helper and Caliban (Adrian Danzig) a feisty relunctant aid. When Prospero rings his bell, the reenactment of the storms that send his enemy’s ship wrecked to his island. Prospero manipulates fate to have all aboard reach the island safely.

With Ariel and Caliban deft use of the fabulous live-size masks and the magnificent puppet work by Sarah Addison Ely and Dustin Valenta, the story of The Tempest unfolds. It is Prospero’s feast as he demands an accurate account of the story that contains smattering of Shakespeare’s text nimbly rendered by Judd, Taylor and Danzig. In this vividly dazzling 70 minute one-act, we are constantly surprised by the visuals, the ever-changing table and the charming use of both masks and puppets, even flowers pop-up from the table!

We empathize with Ariel and Caliban as each beg for food and work to escape Prospero’s clutches. The short work fascinates us throughout despite being a tad too hard to follow. Only those quite familiar with The Tempest will be able to follow the text and the action. But no matter, since the basic actions of revenge and treachery enhances Prospero’s depth of power. The Feast is an illuminating and intoxicating evening of theatre. The combination of live performances (Judd, Danzig and Taylor were outstanding) and the props (complex table) with the lighting (by Andrew H. Meyers) and, of course the masks and puppets make for an artful theatrical event. Rich storytelling rivets us. So read The Tempest before you see The Feast – it’ll make your experience more enlightening.

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: February1, 2012

Jeff Recommended

For more info checkout The Feast page on theatreinchicago.com

At Chicago Shakespeare Upstairs Theatre, Navy Pier, Chicago, IL, call 312-595-5600, www.chicagoshakes.com, tickets $35 – $45, Wednesday thru Saturday at 7:30 pm, Saturday and Sundays at 3pm, running time is 70 minutes without intermission, through March 11, 2012

Time Stand Still

Directed by Austin Pendleton

At the Steppenwolf Upstairs Theatre, Chicago

Life style of risk taking consumes photojournalist

Sally Murphy plays Sarah Goodwin – an adrenaline junky wartime photojournalist who returns to her Brooklyn loft to recover from a near-death bomb blast in Afghanistan.  Furiously independent, she is irritated that her lover and fellow war journalist dotes over her. Her wounds and his emotional breakdown from one too many war horrors forced James (Randall Newsome) to desire to stay in the USA and write puff-pieces.

But Sarah still yearns to go back to war reporting believing that if she documents war’s horrors they’ll be ended. She is taken off guard by James’ desire to settle down and marry. It seems that their friend and editor Richard (Francis Guinan) has found a much younger girl to love. They marry and Mandy (Ktistina Valada-Viare) becomes pregnant.

Mandy and Richard indirectly influence James but Sarah, despite marrying James after nine years, still is determined to go back to war zones. Forced to decide between her love for James and a normal life and her thrill-seeking war photographing that makes “time stand still,” Sarah’s choice to resume living in chaos is plausible and understandable.

I had some problems with playwright Donald Marguiles’ script and Sally Murphy’s bland and too laid-back presentation of Sarah. Surly, an adrenaline junky like Sarah would be pacing about as she itched to get back to the action. Murphy plays Sarah too passive.  I’d like to know more about why Sarah cheated on James and why he accepted her story without rage since his soul mate betrayed him. James took the news quite civilly.  I would also like to know more about James’ meltdown that forced him to leave Sarah in a war zone. This story  plays out as incomplete.  I’d like to understand James and Sarah. More back story is needed for me to empathize with them. Randell Newsome is wonderful as the troubled writer. Kristin Valada-Viars was effective as the light-weight young woman.  This show is mildly interesting. Walt Spangler’s set was impressive.

Somewhat Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 31, 2012

For more info checkout the Time Stands Still page at theatreinchicago.com

At Steppenwolf Theatre, 1650 N. halsted Ave., Chicago, IL call 312-335-1650, www.steppenwolf.org, tickets $20 -$78, Tuesdays thru Sundays at 7:30 pm, Wednesday matinees at 2 pm, Saturday & Sunday matinees at 3pm, running time is 2 hours, 10 minutes with intermission, through May 13, 2012

By Ayad Akhtar

Directed by Kimberly Senior

Produced by ATC and

The Araca Group

At ATC, Chicago

Powerful, well-written drama works on many levels

American Theater Company (ATC) in a special arrangement with The Araca Group presents the world premiere of Disgraced by Ayda Akhtar.  I can’t remember when I’ve witnessed a tighter, succinctly written 80 minutes play than Akhtar has presented. Much is covered on several levels in this powerfully shocking drama.

Islamic culture continues to be a mystery that produces apprehension, mistrust and fear in most Americans since 911. We live an unspoken distrust of anyone from the Muslin culture these days.

In Akhtar’s poignant drama, we see from within how a non-practicing Muslim-American lawyer, Amir Kapoor (Usman Ally) is living the fruits of the American Dream – wonderful high-paying job, wonderful wife, and exquisite condo (set design by Jack Magaw) in Manhattan. Amir is an aggressive corporate attorney who has achieved many of his life-long ambitions. He has it all until he falls victim to professional and personal betrayals. These lead to his betrayal of himself.

In only 80 minutes, playwright Ayad Akhtar tightly weaves  not only a detail characterization of Amir-the power attorney who can afford$600 dress shirts but a man in denial of his cultural  upbringing. Amir is a sophisticated, American born, whose family is from the Asian subcontinent. Except in name, Amir is the poster boy for success in American life.

In an early scene, Amir is visited by his nephew, Abe (Behzad Dabu) who begins Amir to help defend a Muslim cleric from federal anti-terror charges. Amir expounds how he is no longer a practicing Muslim and that he is not a public defender anymore and that the cleric’s problem means nothing to him. But his actions at the court give fuel to his enemies.

Amir’s white American wife, Emily (Lee Stark) is a painter in the Muslim tradition. She tries to move Amir back to his childhood religion. The couple has a dinner engagement with Jory (Alana Arenass) – Amir’s attorney colleague and her husband, Isaac (Bemin Foster)- who runs an art gallery that is going to display Lee’s Muslim-inspired paintings.

During dinner and drinks the four debate and examine the beliefs from the Koran. Amir and Jory attack the militantly violent portions of the Koran while Issac and Lee depend the prayer-book.  Drinks flow and Amir senses problems both at work an in his family life.

Arguments ensue with Issac, then with Jory and ultimately with Lee as Amir’s name, looks, abilities, persona, and beliefs come into question from all sides. His firms distrusts him and his  personal relations  deteriorate leading to betrayals. It seems that Amir is trapped between his identity as a Muslim American  and his personal identity as simply  American. The collusion of these identities are dramatically played out in Disgraced.

Usman Ally’s strong nuanced and highly-charged emotional performance as Amir anchors this wonderful scary work. Disgraced speaks to the unspoken tensions when fear of a group or religion manifests itself in professional and personal relations. We empathize with Amir as he reacts to the actions of those around him. I’ll not say more so not to spoil the plot that will enrage and shock you. Both the writing and the acting blend together to  present a story that needs to be seen. Disgraced is a cautionary tale and an indictment of our latent fears of misunderstood cultures. The play forces us to re-examine our views of Muslim Americans. Theatre allows us to come together to explore such exlposive topics. This is an impressive drama, don’t miss it.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 30, 2012

Jeff Recommended

For more info checkout the Disgraced page on  theatreinchicago.com

At ATC, 1909 W. Byron, Chicago, IL, call 773-409-4125, www.atcweb.org, tickets $35 – $40, Thursdays * Fridays at 8 pm, Saturdays at 3 & 8 pm, Sundays at 3 pm, running time is 80 minutes without an intermission, through February 26, 2012

Written and Directed By Nathan Allen

Magic by Dennis Watkins

Produced by The House Theatre of Chicago

At Chopin Theatre

Death is dead. Long live Death!  

The best magic isn’t just about spectacle, it’s about the story. The illusions become metaphors for our shared human experience, and the mystery of existence. That lesson is not lost in The House Theatre of Chicago’s revival production of Death and Harry Houdini, the show that put them on the map ten years ago. It’s a true wonder of Chicago theatre—mingling vaudeville with magic, prose with poetry. Illusionist and escape artist extrardinaire Harry Houdini’s struggle with death’s reality, which looks like a danse macabre, becomes the launching point for a spectacle of sublime proportions.

As written and directed by Nathan Allen, the production wisely avoids becoming a biopic. Choosing instead to briskly touch at Houdini’s major life events where he brushed with death (an imposing, wordless visage that escorts his victims off stage with a gentlemanly tip of his hat). It begins with his father’s passing, and his vow to become a master of death. Under the tutelage of carnival magician Dr. Lynn, Houdini (Dennis Watkins) learns not just the craft of the stage and illusion, but that death is not the end of life, “just the absence of.” He meets his lovely wife and assistant Bess (Carolyn Defrin), works with his craftsman brother Theo (Shawn Pfautsch) and cares for his ailing mother (Marika Mashburn). All the while his skill and fame (and distance to those around him) grows exponentially, but he continues to goad death at every turn with increasingly daring stunts that bring him to the brink just so he can thumb his nose at it. It seems he has a death wish, but what he really has is a life wish.

The production moves deftly between ballads, a cappella, video, humor, pathos, and of course, magic with the supreme verve of its cast. They’re having fun and it’s infectious. It’d be a shame for anyone to reveal what the tricks are just as learning how the trick works takes away some of the fun. It behooves anyone, however, to note the fearlessness of Watkins when he recreates Houdini’s most famous escape: the Chinese Water Torture Cell. It’s mesmerizing, and one wonders at not only his ability to look like Houdini, but to bring what one imagines is the same magnetic presence to the stage.

While anyone can (and should) enjoy this, it is not for the faint of heart. Some of the illusions are genuinely frightening (keep the very young ones and the sensitive at home, or just be prepared to cover their eyes), and the closeness of the staging makes it all the more visceral. The set pieces are sparse but evoke just the right tone, matched only by the costuming which adds yet another level of spectacle.

Houdini’s death was random and ignoble for such a monument of a man. A blow to the stomach as a demonstration of core strength ruptured his appendix, leading to peritonitis. The real Houdini debunked spiritualists who said there was a life after death, but had a special code he would give Bess in a séance just in case. Magicians still gather around the world to try and communicate with Houdini in the afterlife (such was the power of his legacy). As imagined by Allen, Houdini promises Death if there is a way to escape the afterlife, he will find the way out. Exiting Death and Harry Houdini, it’s easy to imagine if anyone could, he would.

by Craig Higginson

Directed by Joanie Schultz

At Next Theatre, Evanston

Talky one metaphor two-hander wears us out

South African playwright Craig Higginson wants to explore interracial relationships from an international point of view so he has a Black Frenchman get English language lessons from a British white female living in Paris. This situation has promise but Higginson has his two characters bogged down by overuse of corrective English rhetoric  from Celia (Carrie A. Coon) to her pupil Pierre (Austin Talley).

This drama is a talky, slow-paced and an unbelievable contrivance designed more for Higginson to reveal his thought about race than to be a viable relationship drama about two souls searching for their personal identity and their place in the world.  Pierre is motivated by his need to master the English language since that skill will allow him to fit in in French (and the world’s) society.

If we are to believe that there is a subtle sexual attraction why there is no sensual stage chemistry between the stiff and stilted Pierre and the blandly calm Celia?  The endless grammar corrections grows tedious and dilutes from the formation of any emotional or sexual tension. Pierre, we learn, has sort of  stalked Celia after seeing her at a Parisian museum.  But I saw no emotional heat coming from Austin Talley’s Pierre toward Celia.

Add the blandness of Celia who without warning or set-up confesses  her secrets to Pierre.  I never once felt that Celia would be sexually attractive to the passive Pierre. It seems that playwright Higginson wants to show how  two troubled and emotionally damaged folks can find connections despite their racial baggage. But I never for a moment believed these two have any deep connection. Pierre hasn’t the needed bad-boy image that a hip Londoner would be attracted to. The play feels forced and mechanical. The slow pace and the lack of enough dramatic tension made the 90 minute one act plow on as more of a grammar lesson than  a relationship play with something to say.  I got bored since I neither related to nor cared for either character. Next Theatre has mounted an impressive body of work over the years so I’ll forgive this inert work.

Not Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 29, 2012

Jeff Recommended

For more info checkout The Girl in the Yellow Dress page at theatreinchicago.com

At Next Theatre at the Noyes Cultural Center, 927 Noyes, Evanston, IL, call 847-475-1875, www.nexttheatre.org, tickets $25 -$40, Thursdays at 7:30 pm, Fridays at 8 pm, Saturdays at4 & 8 pm, Sundays at 2 pm, running time is 90 minutes without intermission, through February 26, 2012

By Mark Saltzman

Directed by Wayne Mell

Produced by Madkap productions

At the Greenhouse Theatre. Chicago

Clutter is a superficial work that tries to be both a comedy and a mystery at once

What doomed Clutter for me was the contradictory style of the piece.  Clutter, at first, plays as a police procedural mystery then abruptly becomes a comedy featuring two eccentric brothers and several zany supporting characters.   The parallel stories about two sets of brothers didn’t work since the play’s hook is the wacky recluse Collyer brothers who live together and never threw anything away. But instead of focusing the show on them, playwright Mark Saltzman also featured the back story of the Dolan brothers, the cops who investigate the death of Homer Collyer. Why?

I also had a problem with the over-the-top performance by Andrew J. Pond as Langley Collyer and Edward Kuffert as Homer Collyer. Each had a strange accents that sounded almost British?  We don’t get enough insight into the weird brothers since much of the focus is on the cop brothers. Add the silliness of many of the players and we have a comedy that wants to be a mystery that plays out as both. With several actors flubbing lines and the inconsistent tone, Clutter sure is a ‘cluttered’ affair.  Too bad director Wayne Mell couldn’t make up his mind on a consistent style. Clutter is a interesting idea for a play that fails due to poor direction and uneven acting. The script was superficial and cliche ridden. I’d skip this one.

Not Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 28, 2012

For more info checkout the Clutter page on theatreinchicago.com

Enron by Lucy Prebble at TimeLine Theatre

By Lucy Prebble

Directed by Rachel Rockwell

At TimeLine Theatre, Chicago

Highly  theatrical, fast-paced drama about the rise and fall of Enron

TimeLine Theatre’s 50th production is another historical drama adding to their long list of exciting productions. with director Rachel Rockwell, a musical director and choreographer, at the helm, Enron has some unique, quite theatrical staging to underscore the dynamic story of Enron Corporation. The fast-paced scenes include symbolic costumes, mini-manic business action scenes with historical context from Mike Tutaj’s video projections.

Rockwell’s engaging production makes the rise and fall of a business giant come to life with action as we meet and see the interactions and personalities of the principal players who guided and manipulated questionable business practices into an elaborate and sophisticated shell game that produced the illusion of a profitable company. Enron became the most infamous scandal in financial history of American commerce.

The tone of Enron moves effectively from high drama to savage comedy as we witness the greed and ambition of men and woman revealed in secret meetings and strategy sessions. Enron’s style allows the audience to gain information about complex business practices such as arbitrage, derivatives, hedging, and mark-to-market actions. We learn how creative accounting structures can hide losses in an effort to stabilize the stock prices of Enron. Smart, sharp dialogue with entertaining theatricality gave those dry topics life and clarity.

The superb casting included Bret Tuomi playing the manic and charismatic Enron president – Jeffrey Skilling. His grandiose vision allowed him to rationalize his schemes to create wealth before there was actual wealth. Tuomi’s energetic and highly emotional command of  his role anchors the drama. As he comes apart, Tuomi is most tragically human as  the fallen leader. Amy Matheny plays Claudia Roe, Skilling’s rival to lead Enron while Sean Fortunato plays the weird nerdy financial wizard Andrew Fastow – the clever slight-of-hand account who creates the structure for Enron’s illusion of profits when there were only losses. Fortunato uses his amazing comic skills  to give Fastow a psychotic delusional dimension.  Terry Hamilton plays the CEO of Enron Kenneth Lay as the patriarch who delegates authority while keeping the big picture alive.

The inter dynamics in the rush for power, greed and ego are vividly dramatized with doses of  dark humor and emotional melt downs in this provocative and enlightening theatrical event. Leaving Enron,  I had a better understanding of just how and why the giant company crumbled. The details play like a cautionary tale demanding more government oversight. After all, the thousands of investors and employees’ loves were ruined by the fraudulent business practices of the energy giant. As a theatre work, Enron is tad too anecdotal at times but ultimately delivers the complex story nicely.

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 28, 2012

For more info checkout the Enron page on theatreinchicago.com

At TimeLine Theatre, 615 W. Wellington, Chicago, IL, call 773-281-8463, www.timelinetheatre.com, tickets $32 – $42, Wednesdays & Thursdays at 7:30 pm, Fridays at 8 pm, Saturdays at 4 & 8 pm, Sundays at 2 pm, running time is 2 hours, 15 minutes with intermission, through April 15, 2012

Music & lyrics by Laurence O’Keefe

& Nell Benjamin

Book by Heather Hach

Directed & Choreographer by Marc Robin

At Marriott Theatre, Lincolnshire

Silly, campy musical comedy delights audiences

It is no secret that I dislike pop/rock forgettable scores that contain that squeaking whining female singing (think Wicked) and that irritating sing-songy Broadway rock singing style singing from blank non-melodic pop music pastiche. Add large doses of silly plots and stupid situations and I’m ready barf.

Well, in 2009 I saw that National Touring production of Legally Blond in Chicago. My review contained this:

“Legally Blond—The Musical could only appeal to those who enjoyed the film. As a Broadway musical, Legally Blonde is so light-weight that it makes fluff shows seem like Shakespeare. I’m a big fan of musicals and shows like Hairspray and Mama Mia are enjoyable musical treats filled with high energy, terrific dancing and fine voices. It is valid that Broadway musicals can be pure escapist fluff—as long as the show’s production elements contain a bouncy score, cute characters and smart lyrics and creative choreography. Unfortunately, none of these elements are present in Legally Blonde.”

But I must say that if anyone could make Legally Blond work on stage it would be the creative skills that Marc Robin possesses. He succeeded in making Legally Blond into a fun, funny and fast-paced fluff that the opening night audience and my fellow critics seemed to enjoy. Staging fine dances and whip-smart humor and casting terrific players made Robin’s Legally Blond stage worthy.  I just can’t  get by  the goofiness of the show.  My guest (who also hated the tour of Legally Blond) loved Marc Robin’s show. She thought the tone that didn’t take itself too serious added humor and honesty to the fluff. That seems to be the reaction of most of the audience at Marriott Theatre.  She also thought the intimacy of Marriott’s in–the-round stage helped.

So let me say that since I have a non-mainstream view of Legally Blond and since there is an obvious appeal of this show, let me put on my reporter hat to explain the essence of Legally Blond.

When a blonde sorority queen, Elle Woods (Chelsa Packard) is dumped by her boyfriend, Warner Huntington III (Cole Burden),  she decides to follow him to law school to get him back and, once there, learns she has more legal savvy than she ever imagined. We see how Elle is much more that a dumb blond as her basic instincts on human behavior allows her to see things that most people miss. This allows her to defend a fitness queen from a murder charge. Elle also slowly falls for a young attorney, Emmett Forest (David Larsen) who works for Professor Callahan (Gene Weygandt), Elle’s law professor. Add the sage advise from hair stylist,  Paulette (Christine Sherrill) – the hit of this production – and the show twists and turns through song, dance and loads of talk-songs rhyming dialogue.  Audiences cheer for Chelsea Packard’s Elle and David Larsen’s Emmett.They seemed to enjoy Legally Blond more than I did. Its the style and content I dislike but I must say that Marc Robin did make the show a wonderful, light-weight escapist musical comedy that most folks will enjoy.

So don’t listen to me since I have a hang-up with the pop/rock non-singing sing that prevents me from letting this show into my soul. If you like camp and fun shows, Legally Blond  will entertain you. The materiel sure got an expert mounting from Marc Robin.

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 27, 2012

Jeff  Recommended

For more info checkout the Legally Blond page on theatreinchicago.com

Book by Arthur Laurents

Music by Jule Styne

Lyrics by Stephen Sondheim

Directed by William Osetek

Music Direction by Robert Duchak

& Ben Johnson

Choreographed by Tammy Mader

At Drury Lane Theatre, Oakbrook

Traditional remount of the classic backstage musical worth seeing

Gypsy is my # 4 All-Time favorite musical and I have seen many terrific productions of this backstage classic.  Drury Lane Theatre’s standard production is worthy despite sub pare sets and a sound mix that was too loud. But the score by Julie Stein and the lyrics by Stephen Sondheim together with Arthur Laurents’ book blend together to entertain us.

Tammy Mader’s classic choreography, danced  well using the vaudeville number and tap combinations with has some funny bits in the “Mr. Goldstone, I Love You” number.  Matthew Crowle, as Tulsa, glides through the “All I Need Is The Girl” number nicely. The boys, Crowle (Tulsa), Jonathan Kwock (Yonkers) and Alex McCrary (L.A.) dance their hearts out.

Andrea Prestinario, as Lousie, makes the transition from a ‘no-talent’ vaudevillian to the slick stripper Gypsy Rose Lee adequately. Andrea Collier as Dainty June was excellent. Both her and Prestinario danced and sang their duet, “If Momma Was Married” in fine harmony. David Kortemeier’s Herbie was a serviceable complement to the charismatic Mama Rose. The show stopper, “You Gotta Have a Gimmick” was a hoot with sexy Cheryl Avery as Mezeppa (with horn), Susan Lubeck’s Tessie (with finesse) and the hilariously underplayed Electra (with lighting) from Frances Asher each showing their stripping skills.

Featuring a brassy toe-tapping vaudevillian score from Jule Styne and clever lyrics for a young Stephen Sondheim, Gypsy is the quintessential backstage Broadway musical that audiences adore.

The ambitious, driven ultimate stage mother, Mama Rose is one of the great characters in all of American Broadway musicals. Any production of Gypsy depends on who plays Mama Rose. New Yorker Klea Blackhur’s booming voice channeled Ethel Merman takes over as the determined stage mother. Her voice grated on me after a time but Blackhurst’s best moments were when she sang. She commands her scenes especially when she blurts out “Sing Out, Louise” as storms onto the stage. We know instantly that Rose is in charge here. Mama Rose has that blend of toughness without being nasty; that staunch determination to make her daughter a star. Blackhurst has fine comedic timing that together with her body language and vocal tones gives Mama Rose substance as she earns our empathy.

Blackhurst’s leather voice allowed her to lands the “Some People” with fanatical determination; smoothly charms Herby in “Small World,” and motivates Louise in the stirring anthem “Everything’s Coming Up Roses.”  Her  rendition of the fantastic “Rose’s Turn,” where Rose lets loose all the emotions from a lifetime of dreams was effectively performed.

Gypsy is a classic back stage story of vaudeville and of a mother’s living her life through her children. It is also about the rise of Gypsy Rose Lee, the famed stripper. Drury Lane Theatre’s production is certainly worth seeing since Klea Blackhurst’s dreams get us ‘entertained.’

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 26, 2012

Jeff  Recommended

For more info checkout the Gypsy page on theatreinchicago.com

At Drury Lane Theatre, Oakbrook Terrace, IL, call 630-530-0111, www.drurylaneoakbrook.com, tickets $35 -$46, Wednesdays at 1:30 pm, Thursdays 1;30 & 8 pm, Fridays at 8:30 pm, Saturdays at 5 & 8:30 pm, Sundays at 2 & 6 pm, running time is 2 hours, 25 minutes with intermission, through April 1, 2012