Tom Williams

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.

Read more

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”).

Read more

Music by Richard Rodgers

Book & Lyrics by Oscar Hammerstein II

Based on the book Anna and the King of Siam

by Margaret Landon

Directed by Lee Blakeley

Conductor David Chase

Choreographer Peggy Hickey

At the Lyric Opera of Chicago

Dazzling production with Rodger’s score never sounding better makes the Lyric’s the King and I special

All the creative assets of the Lyric Opera of Chicago, from lavish sets to large ensemble including children, to a large orchestra each contribute to a major spectacle. This wonderful production doesn’t disappoint; it is a family treat!

Considered to be Rodgers & Hammerstein’s most beloved musical, The King and I is set in Siam in the 1860s. It tells the story of Anna (Kate Baldwin), a widowed Englishwomen, who becomes a tutor to the King’s children as part of the “westernization” of Siam by the King. The King, played with simmering angst by Raolo Montalban, is torn between clinging to his ancient customs and embracing modern ways.  Essentially, The King and I is a story of colliding cultures where respect, understanding, and acceptance battle with the stubbornness  of two people – one a king and one a charismatic female. The musical is also a love story subtly between the King and Anna and directly between Lun Tha (Sam Simahk) and Tuptim (Ali Ewolsi).  The theme of tolerance and social change is deftly presented.

This production of the Tony winning 1951 musical – The King and I. Anchored by Kate Baldwin (Anna Leonowens) and Paolo Montalban (The King), director Lee Blakley’s vivid flowing production looks  splendid with a colorful array of Oriental costumes including those 1860s European hooped dress (costume design by Sue Blane). Add an evocative Far East set (by Jean-Mark Puissant) with mood enhancing lighting (by Rick Fisher) and you have a gorgeous looking production.

This musical contains one of the most loved and respected scores ever written by Rodgers & Hammerstein. Such fun songs like “I Whistle A Happy Tune” and “Getting To Know You” are implanted into minds of generations along with the beautifully enchanting ballads such as “Hello, Young Lovers,”  “We Kiss In a Shadow,” and “I Have Dreamed.” The cast mostly of Asian-Americans featured strong vocals, especially from Ali Ewoldi and Sam Simahk.

The King’s wives and children evoked charm as they marched, sang, and danced. Peggy Hickey’s Oriental-like movements with the ballet scene “The Small House of Uncle Thomas” using masks and vivid costumes, highlighted act two.

Anna and the King subtly struggled with their cultural difference as both suppressed the romantic sparks that lingered. The King’s “A Puzzlement” and Anna’s “Shall I Tell You What I Think of You” both contain a subtext of romantic feelings. These feeling almost explode as they dance a polka in the thrilling “Shall We Dance.”

This spectacular, colorful, exquisitely sung production is a treat. You’d be hard pressed to see a finer production of this beloved classic.  The casting was fine but I could see an older and more charismatic King, yet Montalban sure had his moments. I was most impressed with production.  You’ll be entertained and you’ll live humming the fabulous R & H tunes. “Shall We Dance” is still stuck in my head – it makes me want to polka!

Read more

By James Goldman

Directed by Brian Pastor

Produced by Promethean Theatre Ensemble

At the Athenaeum Theatre, Chicago

Goldman’s sassy war of words, wit, and love rings as a hit

The Lion in Winter, by James Goldman, is his fictional take on the events of 1183, as Henry II (Brian Parry), King of England celebrates Christmas in his palace at Chinon, France. He has his three sons, King Philip of France (Evan Johnson) and his estranged wife, Eleanor of Aquitaine (Elaine Carlson) at his side as he plots to establish who’ll reign upon his death.  They lead the power struggle as each character maneuvers for support for their personal agenda. Goldman’s wordy, witty, and wickedly stinging drama unfolds as an articulate study of language, political posturing, and the search for love.

The family dynamic: Henry is the aging king—who must decide which of his three sons will succeed him. He fears and relishes the gamesmanship of his estranged (and imprisoned) wife Eleanor. She is his equal in political intrigue and verbosity. Alais Capet (Heather Smith) is Henry’s young mistress and sister of King Philip of France. Henry has sexual and political interests in Alais.  Of the Plantagenet sons—Richard, the Lion (Jared Dennis) is the strongest warrior and Eleanor’s favorite son; Geoffrey (Nick Lake) is the smartest and shrewdest, while John (Tom Murphy is the youngest cowardly and slow-witted son) is Henry’s favorite. This most dysfunctional medieval royal family survives court intrigue and political pressure through wit and guile. Henry and Eleanor are the supreme game players whose sharp minds and vile tongues offer fine word play as they play psychological mind games. Through smartly crafted plots twists and verbal jousting, The Lion in Winter unfolds as a fantasy play based on actual historical people and events. More than political agendas are at stake here. Being loved, being denied love, and establishing one’s place in the family are underlying motives. The play is about a family in crisis only the stakes here include a kingdom.

The power of love and hate; of gamesmanship and verbal wit are eagerly enjoyed by this family. They all feast on revenge, the infliction of psychological pain, and the winning moments of joy when one person wins a skirmish. This ultimate family gathering boasts bitingly funny drollness and nasty word play played out to maximize love or hate as each devise their next move in the game of family. Brian Parry is fantastic (as usual) as the aging king, while Elaine Carlson equals Parry’s verbal assaults. I could watch and listen to these two debate as they anchor a fine cast in one of the finest productions of The Lion in Winter seen on a Chicago stage in years! This is a wonderful written script expertly performed by a superb cast. A powerful script (with modern resonance) played by terrific actors is in store with your visit to Athenaeum Theatre.

Read more