Tom Williams

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!

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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.

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Book by Mel Brooks and Thomas Meehan

Music & Lyrics by Mel Brooks

Directed by L. Walter Stearns

Choreographed by Brigitte Ditmars

Music Director Eugene Dizon

At the Mercury Theater Chicago

Hyper-fun and in-your-face satire rules

Winner of 12 Tony Awards and running on Broadway for 2502 performances, The Producers, based on the 1968 film, is one of the finest musical comedies of all-time! Each time I see this side-splitting musical, I marvel at the genius of Mel Brooks. Anchored by Chicago’s top two comic players: Bill Larkin (Max Bialystock) and Matt Crowle (Leo Bloom), Walter Stearn’s production is a zany gem. It is one of the finest productions mounted at the intimate Mercury Theater.

The story concerns Max Bialystock, a struggling Broadway producer, and Leo Bloom, a stage-struck accountant. These two men join forces in order to make megabucks by producing the worst musical ever seen on Broadway. When they receive a musical script from ex-Nazi stormtrooper Franz Liebkind, which tells the story of Hitler’s rise to power in song and dance, they are convinced that they have found a show that is guaranteed to offend just about everybody.

This show incorporates  humor in every movement, every entrance, every costume, and every dance. It is nonstop, in-your-face satire. They try to offend everyone in a shamelessly glorious production. The musical has dancing storm troopers, dirty old ladies with euphemisms such as “Lick-Me Bite-Me” and “Hold-Me, Touch-Me”, a song with the refrain “Don’t be stupid / Be a smarty / Come and join the Nazi party!” And the marvelously scandalous closing number from the show-within-a-show “Springtime for Hitler” is a hoot!

The shows rests upon who plays Max and Leo, especially after Nathan Lane indelibly established Max as a pure comedic figure and Matthew Broderick gave Leo a likable squeamishness. Bill Larkin’s energy, physicality, and comedic timing combine with his fine voice make Max a treat. Without imitating Lane, Larkin has the character down with his own imprint. He is hilarious as the devilish producer. Matt Crowle has the nervousness, nerdiness, and exquisite comic chops and a nice voice together with rubbery body language to give Leo the necessary neurotic traits. Crowle easily wins out hearts. He can dance and knows how to sell a comedic bit. Larkin and Crowle deliver two excellent, exuberant performances. We quickly care and laugh at these two comic masters. Their chemistry and fine singing give depth to the hilarious characters.

I liked Harter Clingman as Franz Liebkind, the nazi playwright, and Jason Richards as the gay director Roger De Bris with Sawyer Smith as the hilariously swishy Carmen Ghia. Allison Sill as Ulla was more that just a beauty with legs to kill for, she sang wonderfully. The ensemble danced and sang as fine as any you’ll see.

Brigitte Ditmars’ inventive choreography in numbers like the “Keep It Gay,” “I Want To Be A Producer,” “The King of Old Broadway” and the wheelchaired old ladies in “Along Came Bialy” worked to exude more laughs. Every aspect of this fast flowing production produces laughs in a most entertaining spoof of Broadway.

In this production, I rediscovered Brooks’ clever humor. There is so much going on in this nonstop show that it simply overwhelms us. Can a show have too many laughs? Comedy returns to musical comedy with The Producers. Mel Brooks is outrageous as he attempts to offend as many people, places, nationalities, genders, and institutions as possible. He does it without regard to being “politically correct.” Thank God for Brooks’ chutzpah!

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Book and Lyrics by Tom Eyen

Music by Henry Krieger

Directed & Choreographed by Brenda Dider

Musical  Direction & Orchestrations by Doug Peck

Produced by Porchlight Music Theatre

At Stage 773 Chicago

Fast-paced, well sung and emotional look into the world of R & B

Dreamgirls–owes much to  original director-choreographer Michael Bennett’s breathtaking cinematic-style staging that keeps the action flowing most effectively.  The cast depicts the rise of R and B  through the disco era, circa 1962-75.  This emotional production unfolds as an R and B pop operetta as much of the story (and dialogue) is told in song and recitative.

The story chronicles up-and-coming 1960’s singing girl group as they experience the triumphs and tribulations found in fame and fortune. Deena Jones (Candace C. Edwards), Lorrell Robinson (Katherine Thomas) and Effie White (Donica Lynn) are The Dreamettes, a fledgling group that the ambitious agent Curtis Taylor (Evan Tyrone Martin) discovers and molds from backup singers for James “Thunder” Early (Eric Lewis channeling James Brown) to a featured group.

From the start, Dreamgirls features an assortment of Henry Krieger music and Tom Eyen’s toe-tapping tunes, rich anthems, and soulful power ballads. Act One is a fabulous rhythmic trip through R and B, Blues and Soul  with original songs written in the style of the famous MoTown tunes.  The show stopper “Fake Your Way to the Top” and “Steppin’ to the Bad Side” (my favorite in the show) is an amazingly stylistic number rich in innovative choreography.

As in the entire show, the dances and the choreography by Brenda Didier uses the Michael Bennett format to land terrific movement. “I Want You Baby” Eric Lewis’s powerful song is spectacular !

But the first act’s core emotional moment occurs when petite Donica Lynn, as Effie White, delivers the heart wrenching power ballad “And I Am Telling You I’m Not Going” with deep honesty worthy of Jennifer Holiday or Jennifer Hudson’s Oscar winning rendition. Lynn received a well deserved strong ovation as she sold the song quite convincingly.

At 2 hours and 40 minutes, Dreamgirls is  an ambitious journey. The tone is melancholy and the songs become more bluesy in act tow. Donica Lynn delivers another winning song-“I Am Changing” as Effie makes a comeback as a sole artist after Curtis eliminates her from the girl group. Eric Lewis as “Thunder” Early is terrific.

Dreamgirls is a manic, polished and classy music and dance romp through Motown. You’ll quickly get excited by the sheer energy and deep emotional truth in this modern operetta. Powerful and richly evocative voices nail the tunes as the nuances of the struggles to attain and survive fame and fortune in the music world is sensitively presented. The joyous and angst ridden world of R and B music makes for a most engaging theatrical experience.Donica Lynn and Evan Tyrone Martin anchor an outstanding cast.  Brenda Didier’s direction works well and Doug Peck’s orchestra  sounds terrific.  Take a trip into the world of R and B-it’ll send you soaring. Porchlight’s production is steeped in raw emotion expressed through song.

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By Samuel D. Hunter

Directed by Brad Akin

At Steep Theatre, Chicago

“Hello love seekers! You’ve reached the message line for The Few’s personal ad section….”

“Danny callin’ again… Looking for lady co-pilot to navigate end times. Spacious bunker with comfortable bed, running water, tape deck… Me: over 60. You: under 40. Let’s ride!”  -A caller seeking a romantic connection.

Kudos to Steep Theatre for selecting Samuel D. Hunter’s brilliant play, The Few, now in its Midwest premiere.  Hunter (The Whale and Pocatello) writes about weird characters on the margin who live damaged lives filled with regret. They are stuck lamenting what happens when life gives them what they don’t want. They compensate with food, religion, or alcohol.

Hunter’s naturalistic dialogue is deeply psychological, which allows actors to exude more from how they express themselves than the mere words. In the hands of director Brad Akin’s three players, Hunter’s characters become fully developed and most empathetic.  We meet  QZ (Dana Black), the proprietor of the weekly newspaper The Few, who struggles to deal with Bryan (Peter Moore) who has just returned from four years of unexplained absence. There are in Northern Idaho near a truck stop just of the Interstate. Bryan and QZ were lovers working together on the trucker-oriented paper Bryan founded to aide the truckers’ loneliness from driving cross country.  Bryan and his friend Jim, veteran truckers, empathized with the alienation and loneliness of the truckers.

But, once Bryan mysteriously disappeared, QZ turned the paper into more of a classified site where truckers could make romantic connections. (The playing of the phone messages from classified clients was both funny and  revealing.) Throughout this 80 minute drama, mystery elements get our attention: why did Bryan leave without warning? Why is QZ so bitter? and why is Matthew (Travis Coe), the gay teen paper employee, so determined to get Bryan to revive his ideas for the paper? This puzzle keeps us engaged, as does the deeply empathetic performances.

Despite the bitterness and odd relationships of these three damaged souls, somehow we are empathetic to each. That is a testimony to Akin’s direction and Hunter’s writing, but mostly to the outstanding performances by the three players. Peter Moore is doing the finest work of his career playing the tormented, flawed, and disillusioned trucker-turned-newspaperman struggling with life meanings as seen through alcohol. Dan Black using her acting skills to depict contained rage and bitterness marvelously.

Travis Coe presents Matthew as a lonely lost gay teen trying to find a place, a family with-which to anchor his existing and give his life purpose. Coe has the insecure manner of the teen down by presenting Matthew’s questioning tone, his insecure body language, and the apologetic mark at the end of each of his remarks, statements or questions. Coe was terrific throughout this play!

The Few is a sleeper; it is a one of the finest acted plays you’ll see this year! We empathize with these three sad lives. We relate to the strange plot twists, and we are satisfied with the conclusion. The realism and the honesty of these three characters play as if we had a spy camera in the newspaper trailer to record actual events. Steep Theatre, which long been producing fine theatre, has mounted one of the best shows of the year. Don’t miss this wonderful, honest, and character-driven play. It will reach into your heart.

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