Tom Williams 
God Bless America is an American patriotic song written by Irving Berlin in 1918 and revised by him in 1938. The later version was recorded by Kate Smith, and became her signature song.
Berlin wrote the song in 1918 while serving the U.S. Army at Camp Upton in Yaphank, New York, but decided that it did not fit in a revue called Yip Yip Yaphank, so he set it aside.
By Richard Bean
Based on The Servant of Two Masters
by Carlo Goldoni
With songs by Grant Olding
Directed by Charles Newell
Music Direction by Doug Peck
At Court Theatre, Chicago
Old fashion laugh fest erupts at Court Theatre
When over-the-top British comedy meets commedia dell’ arte with energetic, totally committed Chicago actors, the result is a manic mix of satire, songs, and physical comedy aimed to please our funny bones. This is the funnest, smartest, and most imaginative comedy to grace a Chicago stage in years!
One Man. Two Guvnors is Richard Bean’s adaptation of Carlo Goldoni’s 18th Century commedia dell’ arte classic, The Servant of Two Masters. Bean utilizes the British sense of over-the-top physical comedy, smart word play, and satirical songs satirizing pop British from the 1960’s. Utilizing Collette Pollard’s dazing Brighton, England coastal boardwalk set, we meet through song the eleven member cast who act, clown, sing, and play various instruments as they present the complex story of Francis Henshall (the fabulous Timothy Edward Kane) as he juggles separate employment by two men. One is a local gangster, Roscoe Crabbe ( the amazing Elizabeth Ledo), and the other Stanley Stubbers (the understated comic/musician Erik Hellman). Francis tries to keep the two from meeting and discovering his secret, but Roscoe is really Rachel Crabbe in disguise – her twin brother was killed by her lover, who happens to be Stubbers. This, among other complications, gives fuel to the comedy as the parents, Charlie “The Duck” Clench (Francis Guinan) owes Roscoe money, while Pauline (Chaun Cross), Charlie’s daughter, wants to marry Alan Dangle (Alex Goodrich), an aspiring actor and son of Charlie’s lawyer, Harry Dangle (Ross Lehman). Local friend to most, Lloyd Boating (Alan Gilmore) is the ex-prisoner. Dolly (Hollis Resnik), Charlie’s bookkeeper who falls for the one person who can change her life.
This cast of stock characters were inspired by famed Yale expert in commedia dell’ arte Christopher Bayes and famed comic Allen Gilmore and allowed to exude all the comic bits from each scene by director Charles Newell, resulting in so many funny bits that it was, at times, comic overload. The style allows the players to interact effectively with the audience thus heightening the comic effect. The clowning was non-stop with generous bits of physical comedy from rollicking jaunts through crooked schemes and general buffoonery that produced many belly laughs!
From Ross Lehman’s pratfalls, to Alex Goodrich’s slapstick, to Chaun Cross’ clowning, One Man, Two Guvnors will impress you with the manic stage craft that includes many catchy pop/rock tunes. But as effective and skilled these comics are, it was the incredible work by Timothy Edward Kane that anchored this amazing show. Kane once more proved that he is the most skilled and fearless actor working in Chicago. Here he combines is spot-on comic timing with his extraordinary physical bits that include facial expressions, and zany movements. His bits serving his two masters food and drink was priceless among other wonderful comic routines.
Book & Lyrics by Alex Higgin-Houser
Music by David Kornfeld
Directed by Elizabeth Margolius
Music Direction by Robert Ollis & Tyler Thopson
Produced by Underscore Theatre Company
At The Edge Theater, Chicago
Powerful story of Chicago’s infamous Haymarket massacre soars in a tuneful folk musical
If you wonder where the new voices in musicals are in America, you only have to turn to the creators of the fabulous new folk musical, Haymarket: The Anarchist’s Songbook to see evidence of talent. With Book and Lyrics by Alex Higgin-Houser and music by David Kornfeld, Haymarket is proof positive that the American musical is, indeed, in good hands!
This sparkling new chamber folk musical is featured at the new Edge Theater (5451 N. Broadway), a terrific venue. Haymarket: The Anarchist’s Songbook is a mature, polished folk musical that creatively and most effectively tells the true Chicago story of the 1886 Haymarket Affair that erupted into a bombing after a labor rally. The story is told from the point of view of Lucy Parsons (LaKecia Harris), the daughter of a slave and the widow of anarchist martyr Albert Parsons (James Smart).
Utilizing slick music direction by Robert Ollis and Tyler Merle Thompson of David Kornfeld’s richly varied score while having the cast members acting as musicians, Haymarket unfolds as a folk operetta. This wonderful score with smartly appropriate lyrics by Alec Higgin-Houser set the proper tone of labor organization, populist movements, and social unrest as Americans strive for basic worker’s rights. The roaring songs effectively captured the hope, dreams, and spirit of both immigrants and American working class. Featuring guitars, mandolin, piano, accordion, ukulele, harmonica, and trumpet, among other instruments, each played by a cast member to accompany their fine vocals, Haymarket “sings” richly as the mood and spirit of the story soars into our hearts!
The 25 song score is in fine hands here. It is amazing that the creatives at Underscore found as many excellent actors/singers/musicians as they did to tell the early labor confrontation story. Just like their terrific Borderlands, Haymarket uses the players as musicians as they strut ballads and traditional melodies to celebratory tunes to protest songs to tell the labor struggles of the 1880’s.
The artistry here is fluid; songs richly both to tell the story as well as underscore the mood and tone of events. LaKecia Harris anchors the cast with her fine acting and terrific vocals. James Smart (Albert Parsons), Mike Mazzocca (August Spies), Royen Kent (Louis Lingg), David Kaplinsky (Adolf Fisher), Tyler Merle Thompson (George Engel), each had fine moments while Summer Hofford (Nina Van Zandt Spies), Victoria Olivier (Johanna Fisher) and Khaki Pixley (Mary Engel) contributed fine solos and rich harmonies.
This two hour folk operetta grabs us from the start and carries us through the events and injustices of the Haymarket Affair.
By Dale Danner
Directed by Tara Branham
Produced by TKDD, LLC
At the Royal George Cabaret Theatre
Cute and funny drama about a troubled husband
The 100 minutes (with a short intermission) find Dale Danner’s Twisted Knots to be a cute, almost innocent, sex farce that plays out more of a reflection on a troubled husband’s quest for insight into his troubled marriage, his troubled sales career and his personal self worth. This drama is more of a portrait of a man in midlife crisis than a sex encounter. The play’s setup finds Frank (Ryan Kitley) in a deluxe hotel room on New Year’s Eve as he awaits his escort for the evening while he strategies about his pending large sale.
Things don’t seem to go as planned as Frank realizes that he is short of cash to pay Gina (Mary Cross) for her services. She demands cash and Frank must convince the hotel manager to refund him his fee for the NYE’s celebration so he can pay his escort. That is only the beginning of Frank’s troubles that evening. Gina proves to be a feisty, spirited and determined mate.
We quickly relate to the vulnerable salesman, yet we wonder, why he isn’t with his family on New Year’s Eve? Could Gina be more than simply an escort? They seem to have a past history. Frank seems to be limited in his actions by his superstitious beliefs. It seems that his success is based on utilizing his “lucky” order pad or his special blue tie, etc. Gina helps him overcome those limiting beliefs.
As Frank finally gets Gina her cash, we never see their wild sexy play but, after the intermission, we see the room laced with scattered clothing indicating fun in the sack. Don’t expect a raw sensual sex farce because Twisted Knots is a drama about a troubled insecure middle aged man struggling through self worth issues. Gina, or Carla, as we find out is her name actually is, helps steer Frank into a world based on his personal strengths more than his superstitious foibles.
By Lucy Kirkwood
Directed by Nick Bowling
At TimeLine Theatre, Chicago
Epic play an ambitious mystery
British playwright Lucy Kirkwood has penned a three-hour mystery-drama, Chimerica, centered on the events of June 5, 1989, when a man stood in front of three tanks to protest military intervention in a student protect. We meet photojournalist Joe Schofield (Coburn Goss) who, from his hotel room, took photos of the man standing in front of the tank.
Move forward to 2009 when Schofield and his fellow journalist, Mel Starwyck (Chris Rickett), are headed to China to cover events there. On the plane, they meet British corporate executive Tessa Kendrick (Eleni Pappageorge) who proceeds to drink away her fear of flying via gin. Joe helps her cope with her “white-knuckle” tendencies. The China adventures begin. Joe and Mel pitch a story to their editor about finding and re-visiting the Tank Man from Joe’s photo. The quest for this story obsesses those two, especially Joe.
Over the next three hours, the mystery takes Joe to Beijing and New York City as he tries to find the Tank Man with the help of his Chinese friend Zhang Lin (Norman Yap), an English professor in Beijing. Chimerica keeps moving swiftly with an ambitious use of video to depict China and New York City. I never fully bought Joe’s obsession with the Tank Man story, especially when his editor nixed it. Why?
I also thought that the independent, crusading photojournalist stereotype that was Joe had to have an affair only because playwright Lucy Kirkwood needed to superimpose her British point-of-view on the Chinese-American economic dynamic. I enjoyed the Chinese perspective from Zhang Lin’s character, which Norman Yap deftly presented. I only wonder why Lin didn’t help Joe’s search with the complete truth. Why the mystery was solved in the manner presented here?
Best non-Equity Chicago Theatre
The best Chicago Equity theatres
Book by Fred Ebb & Bob Fosse
Music by John Kander
Lyrics by Fred Ebb
Directed by David Hyslop
Choreography by David Bushman
Re-created Ann Reinking
who used the Bob Fosse style
Musical Direction John Monaco
Produced by Broadway In Chicago
“Give them the old razzle dazzle…razzle dazzle them”
Brassy Chicago sizzles ever more
Despite the terrific film version, Chicago on stage still reigns. As many times as I have seen Chicago razzle dazzle, this production reached me as much as any other. I think it was the flawless Bob Fosse-style dance, or maybe Kander & Ebb’s score, or maybe the vibrant orchestra, or maybe all of the above? I loved this toe-tapping, slick, sensual, erotic musical. Chicago proves that you don’t necessarily need a lavish set or flashy costumes to mount a hit musical. Rather a bouncy ’20s jazz score set to clever lyrics combined with trademark Bob Fosse-styled dances expertly performed with a variety of musical styles are all that is needed for a wonderful show. Chicago is sophisticated, stylish adult entertainment.
From the moment you hear the jazzy whining of the horns and the hypnotic rhythms of “All That Jazz” and see the boys and girls sleekly moving in unison, you know you’re in for a treat. John Kander’s music has a jazz based style with a tango, waltz, blues, and unique dance-inspiring haunting melodies that cry out for movement. Chicago is signature Bob Fosse style, sleek, sexy, smooth, swift, and sophisticated, featuring arm and leg movements that evolve into unique formations and energetic interaction among the dancers, resulting in pure erotic pulsating rhythms.
The story is about women who kill their lovers and flout justice in a Roaring ’20s satirical fable that jabs at society and the legal system. Dylis Croman is the sexy Roxie Hart and Terra C. MacLeod is Velma Kelly—both are outstanding triple threats, each can sing, are fine comic actors—and both are marvelous dancers. Croman brings cuteness to Roxie, while MacLeod is the more sensual Velma. Both land their songs and dances deftly. The show ending duets “Nowadays” and “Hot Honey Rag” danced and sang perfectly.
The ensemble was the finest I’ve seen dancing Ann Reinking-Bob Fosse style numbers. “Roxie,” “Tap Dance,” and the show stopper “Razzle Dazzle” were slick and flawless. I’ve not witnessed Fosse dances better performed. The ladies justify their crimes with the haunting “Cell Block Tango.”
John O’Hurley brings a big voice and a commanding presence to the shyster Billy Flynn. His “All I Care About” and “Razzle Dazzle” lead the way. Jessie Wildman, as Matron Morton, belted “When You’re Good to Mama” and the sarcastic “Class” with MacLeod skillfully. Paul C. Vogt wins our hearts as the loser Amos Hart as he tenderly delivers “Mister Cellophane.”
This touring production is fresh, energetic, funny, and well rehearsed, featuring an “A” list ensemble of Broadway veteran dance pros. The orchestra sounded terrific with exceptional horn work. Kander’s tuneful score is in good hands here.
If you want to see an expert Broadway musical, this production of Chicago sure qualifies. If you’ve never seen Chicago and/or you’ve only seen the film, then do get to the Cadillac Palace to witness the “real” Chicago. There is nothing like a Bob Fosse dance show. Chicago is Fosse’s best. It is thrilling and so polished. Kudos to Broadway In Chicago for bringing back this classic. It played only through May 15, 2016.
Music and Lyrics by George and Ira Gershwin
Book by Joe DiPietro
Directed by Danny Herman & William Pullinsi
Choreographed by Danny Herman
Music Direction by Bill Underwood
At the Theatre at the Center, Munster, IN
Funny contemporary old fashioned musical comedy features the Gershwin songbook and a zany book
Bill Pullinsi’s farewell production at the Theatre at the Center is, of course, a full-throttle musical comedy featuring a game cast lead by Justin Brill and Erica Stephens doing their best Fred Astaire-Ginger Rogers take on the Gershwin songbook.
Set in the Roaring Twenties, Nice Work If You Can Get It is a fast-paced musical filled with exciting dance numbers, Roaring 20’s costumes, and a cute love story between newly married New York playboy Jimmy Winter (Justin Brill) and the feisty bubbly bootlegger, Billie Bendix (the lovely Erica Stephens), who melts his heart. This new Broadway musical features a book by Tony Award winner Joe DiPietro, and a treasure trove of George and Ira Gershwin’s most beloved, instantly recognizable tunes (“Let’s Call the Whole Thing Off,” “Someone to Watch Over Me”, “‘S Wonderful”).
While I personally never cared much for Little Shop Of Horrors, I must report that the creatives at American Blues Theatre, under the smart leadership of director Jonathan Berry, have mounted a slick, funny and musically interesting production of the campy classic.