Theater

Circus Quixote – Lookingglass Theatre – February 26, 2025

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My hope that the reopening of Lookingglass Theatre, featuring the world premiere of Circus Quixote, would lead me on a quest to see more of their productions, turned out to be an impossible dream.

Upon entering the building, the first thing that struck me was the spare feeling of the “vibrant new lobby,” as described by the architects.

If not for the juggling instruction going on in one corner, I might have thought that I had wandered into the wrong place.

The play itself wasn’t quite as monstrous a show as the theater’s production of Frankenstein in 2019, but I was ready to leave within the first 30 seconds, thereafter gritting my teeth and performing mental gymnastics to help me endure until intermission.

There were some laughs (not as many for me as for a few others in the sparse crowd – relatives of the cast?), though I feel like much of the humor must have been lost to me in translation. I did understand the sophomoric use of belching, but wasn’t particularly amused. If you’re going that route, go bigger.

Some of the choreographed scenes were lame, though not so the horse fantasized from a rocking chair.

The interactions with the audience struck me as inappropriate and somewhat desperate, as, all in all, I felt like I was watching a long-form improv show that was playing off of a suggestion to incorporate windmills into a scene.

Betrayal – Goodman Theatre – February 22, 2025

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A review I read before going to see Betrayal said that Pinter’s “plays famously include long pauses and silences that can feel interminable to audiences if not handled with care.”

Had I not read that review, I wouldn’t even have noticed any such delays. As it is, maybe one or two. Certainly never enough of an interlude to grab a snack in the lobby. Credit to the director and cast? Or difference of opinion as to what qualifies? I don’t know.

Before seeing the production, I was thinking that maybe I made a mistake in not pursuing an acting career, specializing in Pinter. Given a long enough gap between lines, I might have had time to recall my dialogue, or sneak a peek at crib notes on my sleeve, before my turn arose.

Moreover, the anguish in my expression as I tried to remember what to say might have been interpreted as, or confused for acting.

As an audience member, I could use long pauses when watching Shakespeare, as they would give me time to figure out, or look up on my phone, what I had just heard. Of course that would lead to interminably long shows, which was not a problem in this 75-minute production.

Helen Hunt and Robert Sean Leonard were the draws, and they were fine, but, frankly, not special enough to induce a recommendation from me. Fortunately, however, though the play is considered a drama, there were some good laughs, because I just didn’t care about the characters.

An interesting side note about this play with a backward timeline is that the audience wasn’t sure that it was over until a minor character walked onto the stage alone to take the first bow.

I’ve Got a Sinking Feeling

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It was ten months from the time Ernest Shackleton’s ship, the Endurance, became trapped in the ice before it finally sank. Fortunately the entire crew amazingly survived not only that, but also another nine months before their rescue. The last five of those months were spent on Elephant Island.

The weather forecast here this week is for temperatures and wind chills some 30 or more degrees lower than that of Elephant Island, but I don’t have to go outside if I don’t want to (and I won’t be eating any dogs).

Instead I have been inspired to start constructing a LEGO version of the Endurance that I’m taking my time with, as the groundhog said something about six more weeks (months?, years?) of winter, but hope will not take me more than ten months to complete (though I’ve already had to start over once, so who knows), will not sink (pretty good chance of that as it’s not near any water) and will not go unseen for over 100 years (some possibility of that as I don’t get a lot of company).

This project might be the first item in a new LEGO wing (complementing the spacecraft gallery) that would be a combination musical theater (Ernest Shackleton Loves Me) – sea (a groaner, not a typo) you later nook that could also include the Titanic, which took somewhere between 5 minutes and 2 hours 40 minutes to sink, depending on whom you believe (but in either case, would require me to work faster) and is featured in the upcoming Porchlight Music Theatre/Broadway in Chicago production of Titanique.

Fun Home – Porchlight Music Theatre – January 16 – March 2, 2025

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My best personal dress rehearsal story (for anther time) is a perfect example of that which was best described in Shakespeare in Love as follows:

“Allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.
So what do we do?
Nothing. Strangely enough, it all turns out well.
How?
I don’t know. It’s a mystery.”

Porchlight’s Fun Home dress/tech rehearsal actually went quite well. A drawer of pencils spilled on the stage (perhaps appropriately since the play is set in Pennsylvania), promptly cleaned up by one of the actors ,who of course knew better than to let them sit there for everyone to stare at and/or trip over.

I was also engaged by watching a photographer work his way around in front of the stage (as best viewed from the balcony where we sat) snapping away for promotional purposes, while the actors, professionals that they are, totally ignored him, which reminded me of the way the actors in the immersive plays I’ve been to have worked around the audience members in their midst as if they were mere apparitions.

Back a mere four days later, for the final preview, it was obvious that the cast hadn’t just been lazing around the house eating popcorn and watching football, like someone I know. The production was even sharper and my enjoyment even higher.

Fun Home is complicated. It doesn’t sugar-coat life, but it also doesn’t forget about the good things – the ending is, surprisingly, not downbeat. Despite the play’s serious themes, it uncovers plenty of humor, with the aid of some wonderful songs. Listen to the children singing Come to the Fun Home and you’ll want to.

Shucked – CIBC Theatre – January 11, 2025

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Shucked takes place in Cob County, which may or may not be in Kansas (Cobb County is in Georgia), and very well may be taking place in August, the beginning of harvest season.

The show has cornered the market on corn and corny jokes, a veritable cornucopia, a word that originally referred to the horn of a goat, an animal that fittingly was the butt of a couple jokes in the show, as are butts and most everything else you can imagine.

I would love to see the pages of one-liners that didn’t get picked because they didn’t ripen properly. The authors should write a script, about writing a script, around the discards and call it Chucked.

I’m sure I didn’t catch all the references/homages to other Broadway shows, but I sure recognized the Shucked version of Music Man’s We Got Trouble (also set in corn country), entitled Bad, complete with rapid patter and Gordy, instead of Harold Hill, standing on a platform selling his schtick to the crowd.

Independently Owned is a show stopping song and the whole cast was great, but I was particularly impressed by their ability to stay in character and not crack up at any of the rapid fire, often groan inducing or head shaking, and frequently punishing, humor, that always contained a kernel of truth.

It’s a Wonderful Life Live in Chicago – American Blues Theater – December 6, 2024

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The American Blues Theater has presented It’s a Wonderful Life as a staged radio show every year since 2002, complete with breaks for singing commercials that reminded me of my visit to the Grand Ole Opry, but this was my first time in the audience, because, well, bah humbug.

I had my reservations, both literal and figurative, but decided it was time to see what the fuss over this consistently recommended show has been about all these years.

The theater encourages you to get there early to enjoy some rowdy renditions of holiday songs by the cast to warm up the attendees coming in from the cold.

After that there’s a little too much introduction to what you’re about to witness, especially given the fact that, unlike me, a fair number of people there were annual regulars, as evidenced by some comments collected before the show and read aloud by the actors during the breaks between acts.

The play itself is true to the movie. If you’re one of those people who can’t imagine watching anyone but Jimmy Stewart as George Bailey and Lionel Barrymore as Mr. Potter, then, of course, you’ll be disappointed. But if you’re there for the material, and the enjoyment of watching a talented ensemble do their thing, with cast members instantly, audibly transforming from one character to the next, all while Michael Mahler provides background music on the piano and J.G. Smith does her thing as the resident Foley artist (which is fun not only to hear, but also to watch), the evening is a crowd pleaser.

And there were free homemade cookies in the lobby afterwards.

YIPPEE KI YAY – The Parody Celebration of DIE HARD – Broadway Playhouse at Water Tower Place – November 26, 2024

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Richard Marsh in YIPPEE KI YAY.
A one-man rhyming Die Hard play
A parody of the movie for those who know it
Created for the stage by this British poet.

Playing all of the parts, with all of the voices
While questioning some of the cinematic choices
And drawing stories from his personal life
And marriage to an equally nerdy, Die Hard fan wife.

Marsh plays Alan Rickman leading the evil guys
Relieving Nakatomi of its money supplies
Taking bearer bonds from a safe that’s not
While all around get shot at and shot

There’s a wink of the eye to the career of this plotter
And his role of a professor in a tale of a Potter
While Marsh as Willis as a barefoot McClain
Mumbles to himself as each bad guy is slain

There’s an ongoing joke about a fountain displayed
With a humorously simple visual aid
And the giant teddy bear brought as a gift
To help patch the McClain-Gennaro marital rift

Marsh mocks Alexander Godunov’s turn as Karl
For his mountain of hair that’s a very big gnarl
And monstrous weapon and angry emotions
While moving gracefully with Bolshoi balletic motions

Marsh plays Al Powell the cop and Argyle the driver
And Holly, the wife, each a movie survivor
And of course the coke-snorting, idiotic Harry
Who even March decided to bury.

Marsh is a treat, the show is a blast
From the opening lines to the very last
A Christmas story that begs one to say
Thumbs up for him and YIPPEE KI YAY.

 

 

A Beautiful Noise – Cadillac Palace – November 19, 2024

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There’s a lot to like in this show about Neil Diamond’s life. If you’re a fan of his music, as I am, there’s lots of that, with a rocking band.

And Nick Fradiana sounds just like Diamond. According to Broadway.com, Fradiani “spent a year and a half analyzing videos on YouTube and absorbing Diamond’s voice (speaking and singing), mannerisms and general aura.”

Hard work is great, but it’s not as good a story as when Stephanie J. Block won a Tony as Cher after she found her voice while wearing a teeth-whitening device,

Diamond’s first two wives play a big part in the show. Hannah Jewel Kohn as his second wife, Marcia Murphey, grabbed the spotlight with her rendition of Forever in Blue Jeans, while lighting up the stage throughout with her dancing and non-stop motor, even when she was “just” part of the outstanding chorus, which was backed by great choreography and a couple of very clever entrances that looked like magic.

I also really liked Kate Mulligan’s spirited turn as record producer Ellie Greenwich, but wouldn’t have minded a little more background on the woman who had her own impressive list of big time songwriting credits, which earned her a place in the Songwriters Hall of Fame with Jeff Barry, who also played a part in Diamond’s career, but not in the show.

The real Greenwich and Barry can be seen in Bang! The Bert Berns Story, a highly-rated documentary, promoted on IMDB as “music meets the mob,” about another character in the play who merits more attention.

The energy in the house started dragging a little at a point in the second act when the psychoanalysis that constitutes the framework of the show went on too long, while the audience craved more music.

But all was forgiven when the cast led the audience in the mandatory reprise of Sweet Caroline.

 

New Faces Sing Broadway Now – Arts Club of Chicago – Nov. 12, 2024

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It’s been four and a half years since I wrote about a Porchlight Music Theatre New Faces Sing Broadway Now event at the Arts Club. The world has taken quite a few turns since then, but one thing hasn’t changed. Once again, Artistic Director Michael Weber managed, I suspect on purpose, to pick people for the trivia contest who may have wandered into the wrong party, two of them admitting that someone else had filled out their entries, which, of course, makes it a lot more fun to watch, as audience aficionados squirm in their seats and admonish their neighbors when they anxiously start to shout out answers prematurely.

The other audience participation moments occur during the two sing-along songs, always my least favorite part of the evening, but intriguing this time as I wondered how people would handle the yodel in the song Popular, from Wicked. Fortunately, they didn’t even try to insert it, lest I find the need to insert my ever-ready ear plugs.

For the rest of the evening, the cast of 10 (plus host Adrian Aguilar, whom I singled out after the recent ICONS Gala), narrowed down from a pool of 700(!) according to Weber, showed off their skills in 18 tunes, most of which I’d never heard before, from a group of current Broadway shows, most of which I haven’t seen.

Apropos of a collection of “New Faces,” the hit of the evening probably was Lorenzo Shawn Parnell’s rousing rendition of Gotta Start Somewhere, from Back to the Future.

Some Like It Hot – Cadillac Palace – October 29, 2024

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If you go to the musical Some Like It Hot merely expecting to see a live replica of the movie with songs inserted in a perfunctory fashion, you’ll be disappointed. It’s much better than that.

As Cole Porter said in Anything Goes, “times have changed.” It was true then and it’s true now.

Thus, at a few key moments when the show veers from the original, or rather openly annotates with 21st century sensibilities, there was no shortage of appreciation from at least a portion of the audience, and no interruption of the comedic flow.

The plot is mostly the same, but the characters are much more three dimensional, or dare I say, four dimensional, given that the show is still set in 1933.

But enough of that. Go for the dancing. Casey Nicholas deservedly won the Tony for Best Choreography.  The extended, madcap, dizzying, dazzling, dance denouement alone, complete with enough entrances and exits to inhabit a dozen door farces, left me delighted and drained.

And go for the music. Marc Shaiman, as always, hits the nail on the head.

And, by the way, the cast is great. High energy, great voices, terrific timing, tap dancing the night away.

Finally, contributing to my thorough enjoyment of the evening, an usher quietly told the woman sitting in front of me to turn off the screen on her phone during the performance (which she then did). No need for Patti LuPone to appear and take the phone away.