Theater

Death, Let Me Do My Show – Steppenwolf Theatre – August 24, 2024

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If you were a fan of Crazy Ex-Girlfriend, which I was, it was impossible to resist the temptation to see Rachel Bloom’s current theatrical production.

That said, I didn’t know what to expect from the show, but whatever it was, it certainly wasn’t what I got, which was part stand-up comedy about life, death and Bloom’s last few years, and part therapy session for her, with a few typically dirty and/or irreverent Bloom songs mixed in, the last of which, my favorite, may or may not have been titled I Am My Daughter’s Well-Intentioned Dog.

What was promoted as a one-woman show turned out to also include the embodiment of death, as played by David Hull, who played White Josh on Crazy Ex. In retrospect I guess the title of the show should have been my first clue in that regard.

Spoiler alert (not really as the show closes today), Hull, wearing a Covid mask, first inserted himself into the show as a heckler in the audience. Before he did his reveal, Bloom ripped into him in humorously startling fashion.

From there, things got serious, then they got funny, then rinse and repeat for the full 90 minutes.

The Last Wide Open – American Blues Theater – August 16, 2024

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Thank you to the American Blues Theater for using the American spelling of theater in its name and on the building it moved into last year, which I visited for the first time for this show. Noah Webster would be proud.

Now that I’ve experienced their flexible studio space, dressed up as a diner, with the audience at tables, in this immersive experience, I’ll have to go back some time for a different production in their larger space, perhaps their annual production of It’s a Wonderful Life.

To augment the diner experience, each member of the audience even got served cheese and sausage (presumably Polish, given the show we were seeing), but only one piece per customer, so I’m glad I stopped first at BryAnna’s down the block, my first time at this nice restaurant, to have some Salvadoran and Guatemalan cuisine, though I found their pollo amarillo rather bland for my taste buds. I don’t know what sensation “Guatemalan spices” are supposed to elicit, but it just tasted like chicken to me. I only saw one item on the menu that used the word “spicy”. Next time.

In any event, the show was excellent. Real life husband and wife Michael Mahler and Dara Cameron play two people who may or may not be destined for each other in a multiverse that, fortunately, merely asks for acceptance rather than trying to explain itself in 80 minutes, for as much as I enjoy listening to Max Tegmark and Brian Greene, they make my head spin, at least in this incarnation.

Broadway x 3 – July 31, August 6, August 12, 2024

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Three different annual Broadway-related concerts, put on by three different groups, in the span of 13 days, and nothing unlucky about it.

The Grant Park Music Festival opened with Broadway Rocks!, which opened with the overture from Tommy. I would have been satisfied with that alone, but the orchestra and a trio of singers kept the energy going through another dozen selections, closing with Don’t Stop Believing (Rock of Ages).

Six days later Porchlight Music Theatre (PMT) wrapped up its Broadway in Your Backyard 12-concert summer series in Washington Square Park (I also saw them June 27 at Seneca Park), opening with, appropriately, Another Op’nin’, Another Show (Kiss Me Kate) (which sent me off into “what if” land, wondering about what the the reception would have been if Mel Brooks had titled the song from The Producers Another Op’nin’, Another Flop, instead of just Opening Night) and closing with Aquarius/Let the Sunshine In (which was actually the opener in Hair). These things are important.

Then, another six days later, it was back to Millennium Park for Broadway in Chicago, put on by, wait for it, Broadway in Chicago, featuring songs from 16 shows coming to Chicago (starting today with Back to the Future). Some of the shows have been here before, like Come From Away, Les Miserables, Moulin Rouge and the pre-Broadway run of Tina, but the biggest hits of the night were a couple newcomers, Kimberly Akimbo and Titanique (produced by PMT), both of which brought waves of laughter and enthusiastic applause from an audience that packed the park from front to back.

Finally, I would be remiss if I omitted the fact that two songs were included in both otherwise divergent Millennium Park Concerts, the always crowd-pleasing Proud Mary (Tina) and the always crowd-engaged Sweet Caroline (A Beautiful Noise), which closed the last of the three nights.

2 Pianos 4 Hands – Northlight Theatre – July 27, 2024

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Two pianos, four hands, and a hundred twenty minutes of entertainment.

Years ago, when I first saw this show, I had not yet started my adult piano lessons, so, although I enjoyed it, obviously enough to see it again, a lot of what I heard and saw I took on faith, given that the piano teacher I had for two years as a child had the pedagogical skills, though not the charisma, of someone who might have studied with Harold Hill at the Gary Indiana Conservatory, gold medal class of ’05.

This time around I could appreciate everything even more, though I missed the overhead mirror that the earlier production used to help the audience better see the pianists’ hands at work.

Adam LaSalle and Matthew McGloin are both accomplished musicians, who also displayed excellent acting chops while inhabiting several characters each, along with the main roles as they aged from childhood prodigies to adults.

McGloin, in particular, showed off a range of physical movements that highlighted the action in a story where there really is no action other than at the keyboard.

Another ability that both men portrayed was to play below their obvious talents, as occasionally required by the story.

The final classical duet of the night was spotless, even to the point of my inability to decode any subtle signals they were giving each other from across the room, behind their respective instruments.

Midnight in the Garden of Good and Evil (Part 2) – John Berendt and Taylor Mac – American Writers Museum – July 8, 2024

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I had trouble determining the identity of the musical. Taylor Mac, who wrote the book of the show, helped by saying he meant to present two interwoven stories, those of Jim Williams and The Lady Chablis, aided by an antagonist for each, Emma Dawes and Lavella Cole, respectively.

The book’s author, John Berendt, stressed how important humor was, stating that his background at Esquire magazine had taught him to write with knowledgeable irreverence.

Mac specifically pointed to the Dawes character, played by Sierra Boggess (what a voice!), who had my favorite line of the show when, in representing the interests of historical and hysterical Savannah, she promised she wouldn’t sell Mercer House to anyone who would knock down a wall to make an open kitchen.

As I stated last time, J. Harrison Ghee, as The Lady Chablis, was great. Their antagonist, Cole, as played by Shane Bailey, had, for me, the best song, among many good ones, in the show when she delivered Clap on One and Three.

I was going to complain about the opening of the show, but Mac’s comments about slowing the audience down to Savannah time, seemed reasonable, though I might still tweak it a little, as I would in a few other places. (I don’t think the audience as the author was explained clearly enough for all.)

Mac commented that no one should expect to “get” everything upon first viewing, that just like a book or movie, a second viewing lends itself to greater appreciation. Moreover, he said they changed the ending after the first five previews, so, oops, you also might have to go again for that reason. Nice marketing.

I also wondered whether the show would be attractive to post Broadway licensees. I asked Mac about whether he took possible future productions into account in his writing. He said he, unlike many others, does, and that the Choreographer, Tanya Birl-Torres, who also was the Cultural Consultant, played a big part in those considerations.

Midnight in the Garden of Good and Evil – Goodman Theatre – July 3, 2024

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This will be a two-part blog, the second half of which will come after I attend the discussion next week at the American Writers Museum by the author of the book, John Berendt, and the author of the stage adaptation, Taylor Mac.

Part of my reason to delay is that, although I’ve seen the movie, I’ve never read the book, and I think that the musical needs some adjustments to better serve those who have done neither. I’ll be interested in hearing what they have to say about that and whether they will discuss any possible changes before looking towards Broadway.

On a general note, let me say that I’ve been to Savannah, and, though I walked around town quite a bit, I didn’t meet anyone interesting there, only lawyers.

Also, I’m a fan of Jason Robert Brown, who wrote the music and lyrics for this show, and also for Parade and Honeymoon in Vegas (which I liked very much despite its lack of success). I haven’t seen any of his other work, including The Bridges of Madison County, which is, dare I say, a bridge too far for me.

For now, I will leave on a positive note. J. Harrison Ghee, Tony award-winner for Some Like It Hot, is a force, worth the price of admission. And the audience was ready, giving them a raucous welcome the second they walked onto the stage, reminding me of the greeting Michelle Williams received at first sight in Death Becomes Her. In a moment predictive of the rest of the evening, Ghee looked out into the audience and said “wait until I earn it.”

Jersey Boys – Mercury Theater – June 9, 2024

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I won’t start the review tritely with “Oh, what a night,” not because I didn’t like the show (I did), and certainly not out of any literary integrity, but rather because I went to a matinee.

I hadn’t seen the show in over 16 years, but surprisingly, since I have no idea what I had for breakfast, I remembered it very well, which is actually the bad news, as the backstory of The Four Seasons, as told in the show, held no surprises for me, as it had the first time.

That missing intrigue didn’t stop me from enjoying the strong singing, dancing and acting performances or the classic music and choreography, or from appreciating seeing the play in a more intimate theater than before, but it did keep me from being as over-the-top excited as those in the audience, perhaps seeing it for the first time, seemed to be, appropriately so.

Afterward I was interested in any updates on the lives of the “boys.” Most significantly, Frankie Valli, at age 90, is still performing out on the road, but I would bet someone else’s good money that he can’t hit the high notes anymore.

And, according to news reports, Valli got a restraining order against one of his sons about a month ago. Perhaps a sequel is in order.

English – Goodman Theatre – May 25, 2024

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For some reason, I tend to see Pulitzer Prize-winning dramas that have one word titles – Fiorello!, Rent, Proof, Doubt, Hamilton and now English. If I’m allowed to count movies, add in Harvey, Fences and Picnic.

Not surprisingly, a strong list. English definitely belongs. It’s funny, it’s thoughtful, it has tension, it never drags. It’s about small stories and a big picture. For most of us, it makes us think about things we may never have thought about before.

It also leaves us wondering about some things about the characters, but that’s okay. I don’t need a sequel. Neil Simon pulled that off with his Eugene Trilogy, but how many people remember Bring Back Birdie, the sequel to Bye Bye Birdie that closed after four performances on Broadway.

I kept thinking that the male lead in English looked familiar. I was correct. Pej Vahdat played Arastoo Vaziri on Bones for eight years.

A fair amount of the play, which takes place in a classroom in Iran where adult students are learning English, is in Farsi, except not really. If you go see it, you’ll understand what I mean, though it may take you a couple minutes, as it did for most everyone at the performance. In any event, don’t think that you have to spend a year learning the language before seeing the show, though you could brush up before the play’s anticipated Broadway arrival in December.

Judgment Day – Chicago Shakespeare Theater – May 22, 2024

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Part Defending Your Life, part Here Comes Mr. Jordan/Heaven Can Wait and part Michael, Judgment Day (not to be confused with the Terminator movie) gives Jason Alexander free rein to ham it up comedically on stage and he doesn’t disappoint, though I wondered whether the flap at the back of his toupee was on purpose. Even when you see the joke coming, he hits a home run.

As does the whole cast, in particular Candy Buckley as an Angel with an attitude.

With great humor, the play presents the audience with profound things to think about, but the only message I chose to take from it related to sleeping on your stomach.

Right near the end of the show, it occurred to me that the trajectory of Alexander’s character, Sammy Campo, reminded me in a way of Sky Masterson’s journey in Guys and Dolls, though Masterson was never the low-life that Campo was.

In terms of sleaze per square foot, Campo, through much of the play, more closely resembles the lawyer Alexander played in Pretty Woman. By the end, however, speaking of home runs, (spoiler alert) he’s more like Roy Hobbs in The Natural returning home to play catch with the son he never knew about.

Chicago Sings Broadway Pop II – House of Blues – April 15, 2024

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I wasn’t even at the venue yet and already was having a good time as I walked past the post office and saw the long line of last-minute tax filers, of whom I joyously was not a member, nervously double-checking their precious cargo with only 45 minutes before closing to get their valued postmarks.

The annual Porchlight Music Theatre spring event once again hit all the right notes and was an even better experience than last year’s first exploration of Broadway Pop.

The food, which was excellent, was easier to obtain this year, set out on a buffet table so that we didn’t have to huddle near the door to the kitchen to intercept staff as they emerged with trays of appetizers that were voraciously attacked and emptied within seconds. It also allowed for something other than finger food, which sounds cannibalistic. As a side note (like almost everything I write), we ate off bamboo plates, a first for me, for the full panda experience.

The performances were, as always, first rate. I’ll mention a few. Billy Rude, whom I last saw in Pump Boys and Dinettes, once again put his rock ’n’ roll talents on display with a rousing rendition of Johnny B. Goode, currently featured in the stage musical version of Back to the Future.

Nik Kmiecik also broke out his axe in Pinball Wizard (Tommy), a turn that only lacked a Pete Townsend-like demolition at the end, problem due to budget constraints and the fact that he needed it again later to lead the audience in a participatory rendition of Sweet Caroline (A Beautiful Noise), as is the custom with this classic, perhaps more so than with any tune outside the Star Spangled Banner.

The dancers made me dream of what it must be like to be flexible, but, my one disappointment, which carries over from last year, was that there was no tapping. I recovered from that psychological trauma thanks to the great mood that pervaded the room.

The star of the night for many was Kelly Felthous, whose The History of Wrong Guys (Kinky Boots) put her singing and comedic talents on full display. She even threw in a dance split in the middle of the song for no discernible reason other than she could. Bonus points for that.