Chicago Critic Must See recommendations.
Tyler Ross is charming, lovable and heartfelt as the good kid bent on meeting his hero. He unexpectedly learns life lessons from Robinson (nice work by Kamal Angelo Bolden) and Branch Rickey (Charles Stransky) the brave Dodger general manager who had the chutzpah to sign Robinson to play in the Major Leagues.
Playwright Alice Childress’ 1957 Trouble In Mind bravely dealt with racism by utilizing a play-within-a-play device to dramatize racial attitudes in both African-Americans and whites. This was powerful and controversial theatre in the 1950’s especially with the stunning ending after a quite funny look at foibles of actors and directors as they struggle through rehearsals for a new radically “ground braking” play Chaos in Belleville.
This fun show is light weight yet sophisticated musical comedy. The humor is infectious; the singing is fine; and the staging is brisk and compelling. Jessie Mueller’s Adelaide, Rod Thomas’ Nathan Detroit and Brian Hissong’s Sky Masterson together with Abby Mueller’s Sarah led the way with complete performances. Bernie Yvon, George Andrew Wolff and George Keating nailed their zany characters most effectively.
The original songs, composed by Jesse Terrill, are excellent, fitting into the piece as a whole, bringing the absurdity of the play to the fore and enhancing the commentary and characterizations of those who sing them – with a particularly impressive rendition by Andy Hagar, the Bridegroom’s Friend. Another ensemble piece is petrifying, with all the actors in lock step, staring straight forward, playing instruments and singing.
It’s a father-and-son team, Eddie and Sam Sisson, played by the remarkable Francis Guinan and firecracker Patrick Andrews, who eek out a living by doing two-bit scams on whoever happens by. Their various victims are played by Joe Minoso and Karen Janes Woditsch, who are excellent in every character they inhabit, with Woditsch showing particular range
When you mount a National Tour of a show such as Les Miserables with some fresh new elements and orchestrations, you best not alienate those of us who adore the original show. Thankfully, Cameron Mackintosh’s 2011 National Tour keeps the essence of show that has pleased over 60 million people from 42 countries and in 21 languages over a 25 year span! This National Tour, now at the Cadillac Palace Theatre until February 27, has a few new twists, some new rich orchestrations with ample use of video projections in key scenes.
Filled with rich Irish humor and desperate remembrances of their long past teenage trauma involving romance and sex. We meet Breda (Kate Buddeke) the former sexy one; Clara (Laurie Larson), the former jilted one; and Ada (Kirsten Fitzgerald) the never-been-kissed youngest sister. The three are caught in a cycle that has them reliving, over and over, those traumatic events from their teen years in and around the Electric Ballroom.
In a riveting 95 minutes, larger-than-life dilemmas face the three main characters: going public with Hawa’s story may help stop the killing but it may also get her killed; Carlos worries about his personal well being if the government or the rebels find out he is speaking to a journalist. Maryka risks her life to get the story that can save lives.
Neil LaBute’s latest, Reasons to be Pretty, now in a strong staging at Profiles Theatre in a Chicago premiere, is a departure from the downer works LaBute has penned recently. This work is hopeful as it becomes a moral awakening for Greg (Darrell W. Cox), the lead character and narrator. Reasons looks at how 21st Century language doesn’t seem to allow us to communicate our true feeling, often getting us into trouble when we use a term that we find expressive but others find that term/word offensive. Misinterpretation of words and phrases plays large in LaBute’s working class, blue collar relationship drama.
Puccini is in fine form here, with gorgeous melodies (including one Andrew Lloyd Weber quoted in his Phantom of the Opera) and luscious orchestration, which are most deftly executed by their performers, both in the pit and on stage. There never was, and probably never will be, a sour note in this production.