White Christmas is a new musical, now on a national tour, filled with the wonderful Berlin songbook. It starts and ends with Christmas cheers with tunes like “Happy Holidays,” ‘I’ve Got My Love to Keep Me Warm” and the classic “White Christmas.” But in between, we experience a fully rendered new Broadway musical comedy.
I guess I’m too much of a traditionalist to appreciate Graney’s humor because I think he took a polished, witty, and humorous classic and reduced it to a fumbling parody. His production is filled with actors who are not singers, who sport terrible British accents, and who have limited music skills making his Pirate of Penzance 80 minutes of torture for me.
The 2010 has the same dedicated cast as last year (with the exception of James Joseph now playing Uncle Billy). These polished actors play multiple characters with a simple twist of their bodies or a different vocal inflection. As I stated last year, Kevin R. Kelly, as George Bailey and John Mohrlein as Clarance and Mr. Potter lead the talented cast in a spirited presentation of the radio play. The only thing lacking here is an actual broadcast on WGN or WFMT so thousands can enjoy this wonderful, tear-jerking sho
By William Inge Directed by Lia Mortensen and Ryan Martin At The Den Theatre, Chicago Terrific first work by a new theatre well worth seeing. There is a new venue in Chicago at 1333 N. Milwaukee Ave., on the second floor – The Den. It is a spacious venue capable of mounting up to 100+ … Read more
The performance provides a delightful return to the days of Lawrence Welk, and famous sister quartets like the McGuires, the Lennon Sisters and the Chordettes. And I would estimate that for the audience, at least 90 percent of the songs were recognizable. This is the third incarnation of this fictional quartet, written by playwright and musical arranger Rick Lewis.
Full of wry bitterness with a bizarre sense producing black humor both funny and tragic, Virginia Woolf’s dialogue is razor-sharp and facetious, often at the expense of anther’s feelings. It is a deeply cynical play about the lack of human communication in the most basic of relationships: marriage. Disappointment and melancholy overpower the characters as they continue to place their faith in their imaginary worlds. Dissatisfaction and depression grips them.
Sullivan’s wonderful melodic score is rich in motifs and references to European opera, British lullabies, contemporary music hall songs with hints of Oriental sounds suggesting Japan. The genius of Gilbert and Sullivan is demonstrated on who well the music and libretto work together to produce the desired effects in a given aria whether that aria be whimsical or serious.
Muerte Del Maestro has moments of theatrical innovation – a 2-person bull costume comes to life and shadow puppets added flavor to the show despite the constant blackouts that slow the pace of the show. My biggest complaint – and this one is easily corrected – is why the actors feel they need to shout at the top of their lungs on such an intimate stage?
Based on Langston Hughes’ African American classic Black Nativity, McKinley Johnson’s takes on the birth of the Christ child is most African-Middle East oriented with five new gospel/blues songs by Jaret Landon. This well song show also features Kevin lega Jeff’s sensual traditional choreography and movement. The show is rooted in its unique perspective and solemn, emotionally rich songs.
As an arts reporter, let me say that the national tour of Wicked has fabulous production values and enough energy to makes for a stimulating evening of musical theatre. Barbara Robertson, as Madame Morrible and Gene Weygandt, as the Wizard of Oz demonstrated the deep talent pool in Chicago. The dazzling look, lighting, costumes, and special effects propel the show as a commercial treat. The show is fun and light weight entertainment