Goodman Theatre

Toni Stone – Goodman Theatre – February 16, 2023

Posted on by admin

The program states that Toni Stone was the first woman to play as a regular on an American big-league professional baseball team, while at the same time parenthetically admitting that the All-American Girls Professional Baseball League preceded her achievement. Huh? I guess they meant to say to play on a men’s professional baseball team.

According to a plaque in the Baseball Hall of Fame, Stone, while first, was one of twelve Black women who played in the Negro Leagues because they were denied the chance to play in the women’s league. It’s Toni’s story, so we never heard about the others.

Except for the audience’s imagination, the set was the infield and scoreboard of a baseball diamond, which starts out as a nice visual, but then mostly provides the backdrop for a series of interspliced scenes attempting to depict game action, while actually adding nothing. As with movie monsters, things that aren’t seen are often the most powerful depictions.

Of course, the play isn’t really about baseball, and the second act provided some needed visual variety by ingeniously using the bleachers to simulate the bus used by the team, with home plate as the steering wheel.

And Stone’s interactions with Millie, conceptualized as being away from the field, were the best thing in the show.

If the object of the play was to make me curious about Toni Stone, it succeeded. If it was to add to the conversation about the various issues it addressed, then I would suggest that it worked the pitcher to a full count, but struck out swinging, with the bases loaded. Wait til next year.

Clyde’s – Goodman Theatre – October 1, 2022

Posted on by admin

I didn’t think to count, but, according to the program, there were 21 sandwiches in this play, set in the kitchen of a truck stop eatery.

The last play I saw with this much food on stage was Sweeney Todd. That time the food wasn’t actually what it was alleged to be in the show (I hope).

Similarly, I doubt that all the ingredients suggested in Clyde’s were as stated, but, this time, I suspect, for convenience and budgetary sakes, not to avoid criminal prosecution.

But that doesn’t mean that the Goodman is cutting corners, as evidenced by the quote in the program from the props supervisor, who had to decide things like, “how many pickles do I need.”

If she messes up and there are too many leftovers, do they take it out of her pay? And I wonder how much food they went through in rehearsals. Did the actors ask to redo scenes so that they could eat more?

Speaking of the cast, their fine performances were highlighted by the fact that no one said their lines with their mouth full, which was particularly important in a performance without captioning.

Good Night, Oscar – Goodman Theatre – March 20, 2022

Posted on by admin

Spoiler alert! In case you don’t know—I did—Sean Hayes was a musician before he was an actor or comedian, having studied piano performance in college, and working thereafter as a classical pianist. (It’s amazing the stuff you learn on the Internet when you have nothing else to do for two years.) He has musical chops.

What I didn’t know, but was glad to see, was how much time he must have spent studying all things Oscar Levant, so that he could emulate his tics and mannerisms as if they were his own. (After the performance I found and viewed on YouTube Levant’s final television appearance, as the mystery guest on What’s My Line, to confirm the accuracy of the depiction.)

Now, imagine Hayes playing Rhapsody in Blue while playing the quirky Levant at the height of his mental health issues and drug addiction. Chopsticks would be tough under those conditions.

This is the seventh Goodman show I’ve mentioned in my blog. Regulars may remember that I haven’t been too kind in regard to four of those prior productions. In my defense, they weren’t kind to me either. But this one had everything, including actual Levant insights like “There’s a fine line between genius and insanity. I have erased this line.”

The Music Man – The Goodman Theatre – July 7, 2019

Posted on by admin

I would rather see a Neil Simon play than one by Shakespeare, so it should come as no surprise that I smiled for two and a half hours while watching The Music Man (despite what I considered a rather drab performance by the leading man), just knowing, that at some point, the Wells Fargo Wagon would be coming down the street, to the roars of the audience, creating even more excitement than an Amazon delivery.

I didn’t find the play dated. To me, River City is like Brigadoon, a pastoral place, frozen in time, that seems uninviting if you’re a cynical New Yorker or an anvil salesman, like the ten-time Jeff-nominated, scene-stealing Matt Crowle, but, eventually, idyllic, if you’re Tommy Albright in Brigadoon, or Harold Hill, who realizes that there was nothing till there was Marian, and the beautiful singing voice of Monica West.

When Hill jumps off the train, it reminds me of the passenger, who definitely didn’t know the territory, in the Twilight Zone episode A Stop at Willoughby, a place around the bend, when he jumped into “sunlight and serenity.”

The Music Man features a wonderful group of townspeople that fittingly includes three of the actors I last saw auditioning for roles in Porchlight Music Theatre’s production of A Chorus Line in May. No solos for them this time, but Laura Savage and Adrienne Velasco-Storrs, along with Ayana Strutz (great name for a dancer), help light up the stage.

I don’t know if Meredith Wilson, through Professor Hill, introduced the “think method” of learning to play an instrument as a wink and a nod to the then incipient Suzuki method of instruction, but Rock Island and Ya Got Trouble are still my favorite rap songs.

Seventy-Six Trombones is the signature song of the show, but the best line is Hill’s concession that he always thinks there’s a band. With a nod to You’re a Good Man Charlie Brown, that should be everyone’s new philosophy.