Shakespeare’s very funny comedy begins with the conniving ways of a roly-poly Sir John Falstaff (Brian McCartney) to seduce not one but two wives (Mistress Ford-Lydia Berger Gray; and Mistress Page-Patrice Egleston). The wives conspire on creative antics to see that Falstaff gets his comeuppance which offer hysterical situations. The play raises the concerns of trust, greed, deception, chaos, and love.
Read MoreAlmost unknown in America, Paul Abraham was the toast of Berlin in the late 1920’s – 30’s with his jazz-infused, sexy dancing operettas. He combined the classical German-styled operettas in the tradition of Franz Lehar with the contemporary jazz style popular in Weimar Germany. His whimsical musical style included rich ballads, tantalizing ‘show-stoppers,’ snappy dance numbers, tangos, as well as haunting lover songs such as the haunting love song: “Toujours l’amour.”
Read MoreThe Morrison clan lives in a cold water tiny flat in the East End of Glasgow in the 1930’s. Maggie (Lori Myers in a tour de force performance) is the care-worn burned-out matriarch who finds herself caring for her five children including two “wee-uns,” a teenaged boy Ernie (Michael Saguto), an adult daughter Jenny (Ellie Reed) and her oldest married son Alec (Curtis Jackson) plus Granny Morrison (Maggie Cain). Maggie is the glue that hold things together as the clan struggles to survive in the tiny flat with limited funds since John Morrison (Scot West) is out of work and on the dole
Read MoreWhen playwright David Rogers got permission to use any of the hundreds of TV show episodes from Paul Henning, a stage comedy emerged and when Rogers (with help from his daughter upon his death) decided to create a musical version of The Beverly Hillbillies, they turned to an expert musical composer, Chicagoan Gregg Opelka who has penned many smart, tuneful musicals including Sour Du Jour and the Singing Cowboy.
This collaboration resulted in a slick, fun, and, of course, tuneful Broadway musical. This is not a country or bluegrass musical but rather a character driven musical that does feature country-ish tunes depiciting the Ozark hillbillies – the Clampets but it also contains songs about the Beverly Hills characters. The banker, his wife, the secretary and the folks who run the private school as well as the grifters who try to extort money from the Clampett’s all get their songs.
Putting a frank discussion about sex on stage is a tricky endeavor at best. And to mount a play about sex with little sex is even trickier. But Bruce Norris, always one to spark controversy, loves to make audiences uncomfortable as their discomfort stimulates them to think about his themes. He has done that in The Qualms.
Read MoreCloser is an attempt by writer Patrick Marber to give a comedic take on the revolving game of modern heterosexual relationships. It is a raw, in-your-face performance of four characters (two male and two female), and their intertwining attempt to find companionship in each other while balancing their unreserved sexual appetites. The young Spartan Theatre Company has put on an effortful production of Closer, but ultimately falls short of giving a truly convincing performance.
Read MoreOne good reason for having children is that it gives parents and grandparents an excuse for attending great performances. However, Seussical is such an outstanding production — in staging, costumes, music, and acting — that it would be a shame to limit it to small fry. Adults should not miss it. You don’t have to be accompanied by offspring, and in fact, you don’t even have to have any prior knowledge of the works of Theodor Geisel (better known as Dr. Seuss), to thoroughly enjoy the experience.
Read MoreDead Man’s Cell Phone is a play that is part mystery, based on a “what if” happening and part fable in a naturalistic motif. The play has an electronic character (a cell phone) that is a portal into one life. Ruhl demonstrates how much an extension of our lives cell phones have become.
Read MoreWe are introduced to Emily Bridges, played powerfully by Melissa Riemer, who is talking shop with her construction company’s number two (and close friend), Billy Fontaine (James Allen). She is coarse, rough, yet commanding and endearing. We then meet her husband, John Bridges (played by successful playwright turned actor Robert Koon.) He is a compassionate counterpart to her forward take-charge demeanor. We also meet their daughter, Jenny (Julia Siple). To her mother’s protest as to her choice of a mate, Jenny is planning her wedding. Tension looms about, mostly from the daughter. This family is financially family sound, but with relationship issues nonetheless.
Read MoreUntil Rachel Rockwell and the creatives at the Goodman Theatre have put their considerable skills and assists in use has there been a major remount and revised production of Brigadoon. This 1947 Broadway musical and a hit 1954 film with Gene Kelly, with fabulous Scottish influenced music by Frederick Loewe, upon the lush lyrics and fine book by Alan Jay Lerner, has emerged into a tuneful evening of magical musical theatre! This sweetly charming ethnic fable contains wonderful dances and several exquisite romantic ballads but the sheer charm and wholesomeness of the morality indeed get us to believe that anything is possible if you love hard enough. There is much to love in this fabulous production.
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