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Music  by Andrew Lloyd Webber

Lyrics by Tim Rice

Directed and Choreographed by Alex Sanchez

Musical direction by Ryan T. Nelson

At Marriott Theatre, Lincolnshire

Spirited classic Webber musical in Lincolnshire

 What are you going to get in The Marriott Theatre’s latest revival of “Evita”?  Star Quality…and plenty of it in the form of actress and singer Hannah Corneau.  Remember that name because you will likely be hearing it a great deal to come if the opening night performance in Lincolnshire was any indication.  Ms. Corneau simply sets the in-the-round stage ablaze with a stunning portrayal of the late First Lady of Argentina, which wholly invigorates Andrew Lloyd Webber and Tim Rice’s often-revived rock opera.  Just in case you were thinking this 38-year-old chestnut has nothing left to do or say, let’s take a look at some of the ways Director and Choreographer Alex Sanchez has dusted off the cobwebs and reclaimed this gleaming musical tiara.

One need only look to the current national headlines to realize the political and social significance of a piece chronicling the rise and fall of a low-born illegitimate woman who championed the rights of the poor and middle-class to become not only the most powerful and controversial woman of her country but a legend long celebrated postmortem.  Eva Peron was and is beloved by many, hated and reviled by others and the center of endless fascination and intrigue.  Even her tragic death at 33 was shrouded in mystery as her embalmed corpse disappeared for 17 years, resurfacing only slightly tarnished.  Only the pedestal was completed for a monument that had been planned in her honor, but in 1978 she re-gained the legend she was always destined for, as the title character in an all-sung musical by a young up and coming British composer and lyricist that might also be thought of as “Eva Peron Superstar”.

Webber and Rice took a boldly acerbic approach to the Cinderella climb of “Santa Eva,” funneled through the eyes of a cynical narrator and commentator modeled on the Argentine-born revolutionary Che Guevara.  Even as it opens with the death and a haunting requiem mass for the leading lady, “Evita” goes on to show us a fiery and determined woman who clawed, charmed and screwed her way to the top of a national heap.  There can be little doubt that the road to corruption is often lined with good intentions, and it is debatable that the Peron’s rule may have done as much harm as good for their country. 

What is especially evident was the amount of old-fashioned Hollywood gloss only an actress could bring to a blatant Socialist agenda.  Tim Rice’s scathing lyrics allow us to ponder the magical effects of charisma and stage management that frequently shrouded good deeds among corruption and self-glorification.  Hollywood film director Alan Parker gave us a kinder and gentler version of this tale as a showcase for mega-star Madonna in 1996.  The Marriott has now returned the work to its more cynical roots (as well as the original vocal demands) while also showing Juan and Eva Peron as soul mates who complimented and elevated rather than eclipsed one another.

It is the star-wattage performance of Hannah Corneau in the title role, however, that elevates the Marriott’s third production of Evita to the level of “must see theatre”.  Just as the real Eva Peron seduced a nation, Corneau completely seduces and captivates her audience.  If her soaring soprano belting does not win you over by itself then her acting surely will.  Every nuance of this striking woman’s facial expressions and body language reveal the intriguing woman Eva most certainly was.  The fact that she was cut down in the prime of both life and career make “Evita” a tragic heroine regardless of her political contradictions.  But there is nothing tragic in Corneau’s uncompromising and thrilling performance. 

Fully matching Corneau is the magnificent, masculine and commanding Larry Adams as her equally conniving partner and political climber, Colonel and eventual President Juan Peron.  This is a role that often gets left in the shadows of the heroine, but Director Sanchez wisely avoids that trap.  He interpolates “You Must Love Me” from the film adaptation, which effectively underscores Eva’s final descent and realization that she and Juan shared a love story born of mutual accommodation.  Austin Lesch’s reedy tenor is not in their vocal league, but he does present a delightfully animated, hilarious and frequently intense contrast as the antagonist Che.

Artistry abounds as one can expect from a Marriott Theatre production.  Rather than offering a standard issue cookie cutter version of Director Hal Prince’s landmark original, Alex Sanchez’s fresh and intelligent choices bring Evita’s story to exciting life again on stage.  Gone is the movie theatre opening with its ensemble suddenly plunged into collective morbidity.  Instead, Sanchez shows us a single family surrounding a radio that carries the tragic announcement and its very personal effect on Eva Peron’s devoted “Descamisados” or “shirtless ones”.  The rise and political coup of Peronista gets an equally clever choreographed arm wrestling match played out by a succession of contenders that reminds us the truth that politics is the art of the possible. 

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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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Othello: The Remix

Written, Directed, and Composed by GQ and JQ

Developed with Rick Boynton

Produced by Chicago Shakespeare Theatre

A Streamlined, Modern Othello

When Jonathan Munby’s Othello played at Navy Pier earlier this year, as the first Chicago Shakespeare original production in the Shakespeare 400 Festival, widespread opinion was that it was a masterful telling of a story which is overly long for its simple plot. If you love this play’s characters, but have a problem with its pacing, the Q Brothers’ adaptation is just the thing for you. Having premiered in 2012 and played at Chicago Shakespeare the following year, this eighty minute streamlined version of is set in the modern music industry, and told through rap (as was a section of The Complete Works of William Shakespeare (Abridged) by the Reduced Shakespeare Company, but this explores the idea in much more depth, while retaining the antic comedy). While Shakespeare fans may miss the Bard’s verbal acuity, the Q Brothers are no slouches as poets, and the four-man ensemble delivers these newer rhymes with a craft which, in its own way, requires as much practice as classical Shakespeare.

As his opener, Othello (Postell Pringle) declares how he rose from nothing to become one of the foremost rappers in the world. This is crucial—the boasting which caused rich, white Desdemona to become infatuated with him is all truthful, unlike in the original, and Othello believes that, in her, he has achieved the American Dream. (Othello is also much nearer Desdemona in age.) Desdemona herself is never seen onstage, but her wordless singing backs up Othello’s songs. She’s regarded by his fans as a positive addition to his artistic output, and adored by all. However, Othello’s newest find, Cassio (Jackson Doran), is a much bigger problem for one of the label’s lesser names, Iago (GQ). Besides how insulting it is do have to open for someone who is his junior in every regard, Iago cannot stand performing in Cassio’s boyband-style dance routines, and absolutely despises where his juvenile, cloying lyrics are leading hip-hop.

Othello will hear nothing against Cassio, of course, so Iago implements his wicked scheme. Tricked into supplying him with money is the techie Roderigo (JQ), a lugubrious nerd whose knowledge of gaming culture is too detailed for the authors not to be nerds, themselves. JQ plays several minor characters, and in a few scenes, has to rapidly switch between them, which he also did in the Q Brothers’ Christmas Carol. His extreme changes are all uproarious, and his Bianca and Ludovico, like his Rodrigo, have new gimmicks to keep them interesting. Jackson Doran is suitably annoying as Cassio, who merely pretends to be a player; it’s a little hard not to empathize with Iago sometimes. But Dornan also plays Iago’s wife Emilia, who, though often another source of comic relief in her desperation for Iago’s attention, also has a fierce drag queen sort of moral voice, which she uses to delightful effect.

The core of every Othello is Iago, and JQ’s is as mean as they come. Only in the tough-guy world of hip-hop could this scowling, pouting figure pass himself off as honest and well-intentioned, but so he does. Of all the dope raps in the show, JQ performs the two most memorable, in which he proclaims his reasons for hating Othello, and later, himself to be a mastermind. Clayton Stamper’s DJing is in precise coordination with the emotional arc of the story, but there’s something especially menacing about the moments in which he backs up Iago. Postell Pringle’s Othello, who as I note above, is much more noble and likeable than the original, is likewise charismatic. It seems like Iago has a challenge in bringing him down, which provides the story with much-needed tension. The non-opening night I attended, Chicago Shakespeare had achieved the rare feat of attracting a truly diverse audience. Even better, it satisfied them. Othello need not be interpreted as a morality tale, but having done so, the Q Brothers made it their own, and told it with enviable skill.

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The Book Club Play

By Karen Zacarías

Directed by Kevin Christopher Fox

Produced by 16^th Street Theater, Berwyn

In Which Running the Perfect Book Club is Serious Business

Karen Zacarías is everywhere. The D.C. based playwright had five world premieres this season, and her play Destiny of Desire will be performed at the Goodman next year. In the meantime, audiences at Berwyn’s 16^th Street Theatre have the chance to see the Chicago premiere of her uproarious social comedy, The Book Club Play, in which all the absurdities of self-conscious book-lovers (and those who pose as book-lovers) are satirized, the redeeming power of art is explored, and goofball caricatures develop hearts. The concept has obvious appeal for the theatre-going audience, which tends to be the kind of people who join book-clubs, and Kevin Fox’s smart, hilarious production was extended due to high ticket sales before it even opened.

Ana (Ann Filmer), the book club leader, introduces herself through direct-address as a person who feels greatly responsible for improving the lives of others. She does so with firm, condescending guidance, and nobody has benefitted from her micro-managing more than her dumber and less literate husband, Rob (Brad Harbaugh). The reason for her direct address is that she has volunteered for her book club meetings to be recorded by Danish documentarian Lars Knutsen, whose name carries great prestige. Hopefully, her book club (which she points out predates Oprah’s) will lead to more people throughout the nation resolving to become better versions of themselves, meaning, more like her.

At the first meeting we see, the members are discussing Moby Dick, which was chosen by Ana and Rob’s best friend, Will (Gary Alexander). Matching Ana in snootiness, Will is believed by her and Rob to be the tragic third wheel in their love-triangle, the object of his affections being Ana, of course. New member Lily (Jennifer Glasse), who is Ana’s subordinate at their newspaper, inadvertently offends Will by picking up on his obvious homosexuality. But since she’s the only black member, the others often say awkward things to her, too. The fifth member of the group is Jen (Hannah Gomez), a paralegal with a scandalous past, and the poorest member of the club. But unlike Rob, she actually does read the books, and her enlightenment was Will’s project, not Ana’s. Perhaps it’s the influence of the camera, but the meeting is much tenser and less formal than Ana hoped.

The next meeting, for which Jen choose Edith Wharton’s The Age of Innocence, goes even worse. Rob actually read this book, and is deeply disturbed by how much of his marriage he recognizes in it. As romantic tensions, occupational resentments, and plain old dislike flares among the members, Ana realizes that their chosen authors are noticeably lacking in diversity, and asks Lily to pick something for next time that will shake things up. Lily picks Twilight. For that meeting, Jen challenges Ana and Will’s power by inviting a new person, the literary professor Alex (Jesse Dornan), who sees value in keeping abreast of pop culture since his fiancé dumped him for not being Edward Cullen. This does not go over well with the leaders of the club, but Alex is not so easily cowed by them, or by Lars Knutsen’s all-seeing camera.

This is, obviously, a piece which requires an excellent ensemble of actors. The Book Club Play has gone through many revisions since its first professional staging in 2008, and certain names are always changed to fit the location of each performance (in this version, Ana and Lily work for The Daily Herald). A potential pitfall is that the characters may come off too broad, but in this production, director Kevin Fox guides them along a journey on which they develop more depth as they explore literature from different angles, or at least, we come to know them better. For example, Brad Harbaugh’s Rob and Hannah Gomez’s Jen start as cheerful, but hapless, schlubs, with Jen a little more anxious, and Rob less aware of his unhappiness. Jennifer Glasse’s Lily is smarter, but uncomfortable with the elitism she feels pressured to adopt because of that—she does not want to become another Ana. As the most realistic characters, they inspire the most sympathy and provide people who are less the critical theory-type with somebody to root for, while still displaying plenty of easily recognizable foibles.

The half of the club with a greater affinity for intellectual discussion all have type-A personalities, which allows for both more aggressive comedy and impassioned discussion of the merits of different types of literature. Jesse Dornan’s Alex is a strange, somewhat unsettling presence, and we clearly feel the group dynamic shift with his entrance. Gary Alexander’s Will and Ann Filmer’s Ana are the targets of most of the play’s satire, and at times seem almost too smug to be believed, but the actors are so funny, each of their moments are treasures. Most of the actors also play a minor character who delivers a brief monologue to cover for the rest of the cast’s costume changes between scenes, and these moments, too, combine humor with occasional unexpected insight into the impact a book can have on a reader. Besides the inter-personal drama, the question at the core of the play is whether pop-culture should be regarded as a guilty pleasure at best, or whether it can be embraced whole-heartedly by people whose tastes also include the classics. The Book Club Play itself is a people-pleasing comedy which never gets too heavy or challenging. However, it is done so well, that, like one of the books under discussion, it may be the right thing at the right time to be a greatly rewarding experience.

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