Tom Williams

Funny Girl, the seldom mounted 1964 classic Broadway musical about the life of Fanny Brice, is so associated with Barbra Streisand that most playhouses shy away from the piece. Not the talented artists at Drury Lane Oakbrook who, under the collective talents of Gary Griffin, William Ostetek and David New, have found a most talented actress to play Fanny Brice–Sara Shepard.

Lifeline Theatre has a strong reputation for mounting an effective assortment of kids theatre. My first encounter with their children’s fare was The Last of the Dragons adapted by David Bareford from Edith Nesbit’s fantasy story. This 55 minute cute little musical is charming with a worthy moral and it sure plays well with children 5 years and up.

Barker tries for complex, ambiguous and unstable responses by mixing comedy with tragedy and by blending time periods–here 18th Century melodrama with 1950’s intensity–as he blends satire of war and violence with sexual perversion from estranged lovers.

Felder, a terrific actor, expert musician (and composer) and playwright, reverently presents favorites like “Swanee,” “Someone To Watch Over Me,” “I Got Rhythm,” “They Can’t Take That Away From Me,” and others until our ears are ringing with Gershwin’s melodies.

From the toe-tapping overture, you know you’re in for a comic operetta and Roger L. Bingaman’s 26 member orchestra delivers Arthur Sullivan’s score in a delightful turn. The Gilbert & Sullivan 1879 operetta The Pirates of Penzance still resonates with audiences in the 21st Century

My Fair Lady is a witty, stinging social commentary on Edwardian British morality wherein the upper-class speech Professor Higgins boasts he can turn an uneducated low-class flower girl into a princess at the embassy ball. With one of the smartest books with brilliant lyrics (by Alan Jay Lerner) on one of the finest, lush musical scores by Frederick Loewe, My Fair lady is one of the gems of the Broadway stage

I must state that that I detest rap and most rock music yet I enjoyed the 2008 Tony Award winning In The Heights more that I thought I would. The infectious, manic and deftly executed dances (by choreographer Andy Blankenbuehler) and the very likable characters gave me something to care about.

While the visual metaphors, the flying, and the movements were stunning, I quickly became lost as the story melted into too many unclear segments.

This, indeed, is an ‘actors’ show’ as the above eked out all of the dark humor and pathos David Mamet intended. Mamet is know as a “language playwright” in that he has an ear for the language, the cadence, and the rhythms of common man’s speech