Monthly Archives: October 2011
'Smokey Joe's' Lacks the Right Stuff at Open Door
By Devlyn Camp
There should be a disclaimer on the script of Smokey Joe’s Café: “THIS IS NOT A CABARET. THIS IS MUSICAL THEATRE.” If there were, Open Door Theatre would have done it right. Although the show is a simple series of Leiber and Stoller songs, the character work has to be there. On the opening night in their new space, an intimate room, which took 32 months to conceive, the vocals were strong and the cast was enthusiastic, but the entertainment fell short.
McKinley Johnson directs cheesy poses and cliché musical theatre song and dance. Each number ends with back-to-back stances and smiles out to the crowd and one guy jumping off the stage and striking his best “Superstar!” During the numbers, the actors seem a bit lost and accelerate forward with false confidence. They smile and sing, but they’re not there. For such a small space, those poses aren’t even played to the full audience. The middle fifteen seats get the good stuff while stages left and right lean in to see what’s happening on the inside of the cast semi-circle.
Pushing aside the directorial errors, there is some talent hiding in the cast. It’s all in the women. Unfortunately, Smokey Joe’s is primarily led by men’s songs. But when the women can shine, boy, do they. The supremely underused Missy Karle is brassy, confident, and addictive. She leaves the audience wanting more, even after she’s been gone for three numbers. When Reneisha Jenkins takes center for her cover of “Hound Dog,” well, thank the man upstairs that there isn’t much terrible choreography in this number to distract from the outstanding vocal talent.
Overall, the production is quite mediocre. The men aren’t manly, the staging is plain, the cast lacks chemistry. It’s a series of awful high school-level clichés. When a show points at itself and says, “Wow! I’m a musical!” it should be a campy, humorous moment. But here, it’s just plain dull.
SMOKEY JOE'S CAFÉ
Open Door Theatre
Now through November 20th
Tickets $28, available at opendoorrep.org
Contact critic at devlynmc@yahoo.com
‘A Behanding in Spokane’ at Profiles: Fantastically Far-fetched
By Devlyn Camp
The entire premise of Martin McDonagh’s 2010 play A Behanding in Spokane is absolutely absurd. You should see it. After a vague incident in which a train sliced his soon-to-be-stolen hand away, Carmichael has dedicated his life to recovering the piece. Knowing completely that his hand will not be functional, but still wanting it, he collects the body parts he finds and moves on to continue to search for his own. When a “hand deal” with a couple pot dealers goes bad, the play begins.
A black comedy, Behanding is dashed with intelligent comebacks from the sarcastic characters, particularly the leading one-handed man (Darrell W. Cox). However ridiculous his obsession, looking in from the outside the audience can really get a kick out of the situation. The Broadway production last year starred Christopher Walken in the lead. I must wonder if this original cast had the tale played out a bit better comically, and not so…heavy handed (pun!). Throughout this Chicago premiere production, I couldn’t help but think how higher the highs could have been and how lower the lows. Although Profiles put on a decent show, the acting could use more. The performances become mediocre when the company takes the script too seriously. In such an outrageously comic situation, characters need much less depth for the jokes to roll. The situation at hand (he he) is the more important aspect of the scene, not so much the realism of the drama. Those pot dealers (Sara Greenfield and Levenix Riddle) get it right more so than the hand wrangler.
Even with doubts of reaching the Walken-and-company level of comedy, Rick Snyder’s production is still quite funny and just as ridiculous. In the end, you won’t be able to help but stand up and give the guy a hand. (Couldn’t resist it.)
A BEHANDING IN SPOKANE
Profiles Theatre
Now through December 4th
Tickets $35-40, available at profilestheatre.org
Contact critic at devlynmc@yahoo.com
Quick! ‘Step in Time’ to ‘Mary Poppins’ before she’s gone.
By Devlyn Camp
The winds must have changed again because Mary Poppins has returned to the Cadillac Palace Theatre. With a whole new cast and the same enchanting spell, Poppins is entertaining the masses just as she always has. Rachel Wallace has taken on the many iconic clothing articles of this particular nanny – the coat, the hat, the bag and, of course, the umbrella – and brought a little Julie Andrews and a lot of realism to Mary. Although it’s hard to catch as a child watching the classic film, seeing Wallace portray the character revealsa Poppins who is quite full of herself, but rightfully so. More expressed in the book than the film, the story is actually rather dark. In living form, tableaus of Londoners in dreary clothes and umbrellas among the steamy wet streets stage a darker world. When Mary arrives, the gorgeous grays flash away and the winds whip in with electric color.
The sets are filled with life. Kids are dazzled by the enormous foldout house, awakening statues, and rolling smokestacks – not to mention the anticipated magic of Mary’s bag and enchanted umbrella. There is no disappointment in the screen-to-stage transition. The musical has every piece of the film and more from the original P. L. Travers book from which it’s based. Adding the charming touch of live theatre to the pair makes this show it’s very own form. There is no other way to see this perspective on the tale of the nanny who brought magic to commonplace life.
Just as fascinating as when you were a child, this production is a fantastic few hours of familiar song and dance, striking costumes and chimney sweeping. Even with its spooky touch, Mary Poppins is simply – gosh darn the cliché – practically perfect.
MARY POPPINS
Cadillac Palace Theatre
Now through November 6th
Tickets starting at $25, available at BroadwayInChicago.com
Nicolas Dromard and company. Photo courtesy Broadway In Chicago.
Contact critic at devlynmc@yahoo.com
Campy Country and Whimsical Twang: ‘The Doyle and Debbie Show’
By Devlyn Camp
Jokes are at their funniest when they are based on absolute fact. When a Saturday Night Live player gets the laugh, they nailed the politician impression perfectly. If a Sedaris story tickles you, it’s because it’s true. The Doyle and Debbie Show gets it just right in their spoof of a washed-up country music duo because, well, they know how to be a washed-up country duo. The night is Doyle’s big comeback on the stage with his third replacement Debbie in a Nashville “concert.” They greet the fantastically over decorated Royal George Theatre cabaret audience and put on sixteen of the “old” Doyle and Debbie’s big hits. The cabaret is plastered in vintage Patsy Cline posters and autographed country stars’ photos. Complete with a bar, old Christmas lights and neon beer signs, the hazy tavern setting is perfect for the extremely talented actors to showcase these outrageous characters.
Bruce Arntson and Jenny Littleton, in the title roles, deliver punch lines quick and often, making jabs at each other constantly without the other noticing. The between-song dialogue, in which the two tell short anecdotes, is brilliant. Their tales poke at the extreme Christian, profoundly pro-American aspects most people relate with the CMT crowd. At points, this laugh-til-you-cry dialogue actually beats out the music. But the music is great, and the lyrics are incredibly funny. They have every cowboy cliché America loves to tease and tickling sad mid-song monologues. Not to say this act is mean. It’s almost an homage to the washed-up duos out there. In fact, the actors are Nashville-based performers, which makes this show feel just that much more legitimate. Although I’ve had few thrilling encounters with country myself, it’s easy to say this is one of the most fun country music experiences you’ll ever have.
THE DOYLE AND DEBBIE SHOW
Royal George Theatre
Now through January 8th, 2012
Tickets $49.50, available at www.doyleanddebbie.com
or www.theroyalgeorgetheatre.com
Contact critic at devlynmc@yahoo.com
“Beauty of the Father” at Urban Theater
By Devlyn Camp
Urban Theater Company is pushing forward with their sixth season, starting with Madrid St. Angelo vehicle, Beauty of the Father. In their new home at the Wicker Park Art Center, this plays ties perfectly with the atmosphere of the religious setting. St. Paul’s church stage is brightened with a dozen or so gorgeous paintings, frames, and easels. The artist, Emiliano, played by St. Angelo connects with a higher power and his artistic self through his work. He is guided by the ghost of actor Federico Garcia Lorca, who helps him with struggles among his family. Although exchanges between living people and ghostly friends are typically a bit cheesy, this production pulls it off quite believably.
When Emiliano’s daughter finally returns to him years after his divorce, an odd relationship strikes up between her and Emiliano’s live-in friend, Karim (played by the irresistible Nicolas Gamboa). The story sets itself up rather slowly, leaving the audience wondering when the exposition will finish, or if the play just doesn’t move fast. When it does eventually take off, Emiliano is seen trying to have his family life, religious experiences, and artistic satisfaction. Lorca’s guidance must help him try to have it all.
St. Angelo is an extremely powerful actor. He’s strong in character and tender when it counts. Next to him, the daughter (Jasmin Cardenas) seems disconnected and uneasy. Looking out of place, it’s unsure if these are character choices or lack of acting strength. Otherwise delightfully led by gleeful and interesting characters, Beauty of the Father is an entertaining and well, beautiful, work to see.
BEAUTY OF THE FATHER
Urban Theatre Company
Now through November 19th
Tickets $20, available at urbantheaterchicago.org
Madrid St. Angelo and Nicolas Gamboa. Photo courtesy Anthony Aicardi.
Contact critic at devlynmc@yahoo.com
Blue Skies Above Steep Theatre
By Devlyn Camp
Steep Theatre Company is presenting a three-act play in its Midwest premiere to launch their eleventh season. Under the Blue Sky is set on an interesting three-part stage including a functional kitchen, large bedroom and patio, with the audience at each side. The play by David Eldridge covers moments with six British schoolteachers in their romantic entanglements together and the controversy following. It’s a bit soapy, which can be a bit fun. At points, the plot feels slow and drags, but this is the dramatic build to the next knife brandishing or fantastically articulated monologue. Julia Siple’s wacky boozer character hilariously stomps all over her seemingly unimpassioned lover in a messy sex scene. There are loud fights, lots of wine, and some pretty exceptional acting from these sex-crazed teachers. The big issue: a two-hour play, three rather long scenes, and no intermission. Luckily enough, the talent of good actors can upstage that desire for overpriced concessions.
UNDER THE BLUE SKY
Steep Theatre Company
Now through November 19th
Tickets $20-22, available at steeptheatre.com
or call (866) 811-4111
Photo courtesy Lee Miller
Contact critic at devlynmc@yahoo.com
The Boy in Black at Royal George Theatre
By Devlyn Camp
Chicago Fusion Theatre at the Royal George Theatre is presenting a season of works by Tony Meneses, beginning with The Boy in Black. Their black box production is quirky and cute, but overall sits at average. The play follows a boy who is surrounded by people whose names and personalities are based on the colors they wear. Those who wear colors have found love, and the boy in black, obviously, has not. It’s easy to see that this particular production isn’t at fault for an average show; the story is less than subpar. Fusion’s production probably improves on the unfortunate script. There’s some decent acting and funny jokes here and there. In fact, the best part of the show is a running gag that has little to do with the plot, in which a pretty woman named Ms. Pink and her large Hispanic lover Mr. Pink keep popping up to do cute couple things and rub their puppy love in everyone’s faces.
The cast pushes through, whether the set is falling down or props are misplaced. Sometimes the best part of black box theatre is watching crew and cast recuperate from mistakes, especially if they can acknowledge it and make it a joke. Among other shows opening, The Boy in Black is certainly not the worst. This production takes what they’re given and has the most fun they possibly can with college-level talent.
THE BOY IN BLACK
Royal George Theatre
Now through November 12th
Tickets $25, available at chicagofusiontheatre.org
or call (312) 988-9000
Contact critic at devlynmc@yahoo.com
Joffrey Opens Promising Season with Delightful Don Quixote
Don Quixote by The Joffrey Ballet
At the Auditorium Theater in Chicago
Runs October 12-23, 2011
Tickets $25-$149; Box Office (800) 982-2787
Highly Recommended
Review by Darcy Rose Coussens
Don Quixote delivers in all aspects
I go to the ballet for many reasons. I love spending a classy night at the Auditorium Theater and accompanied by the Chicago Sinfonietta. I attend the ballet to be told a story in a unique way. I want to be amazed, to gasp and delight in grace, power and control developped beyond normal human capacity. Most of all, I go to the ballet to see something beautiful. The Joffrey’s Don Quixote, one of the most entertaining and stylistically varied ballets, delivers all the humor, stunts, and beauty an audience could desire.
Don Quixote kicks off the 2011-2012 subscription series at The Joffrey, aptly entitled “New Generation.” The performance follows the story written by Miguel de Cervantes of a delusional nobleman who believes himself a chivalrous knight in the adventures of his dreams. Choreography by Yuri Possokhov offers a Russian touch to the Spanish story, mixing Bolshoi ballet and festive Spanish dance styles. This ballet appeals to a wider audience than some others because of its humorous storyline. The performance involved some excellent character work in addition to the Joffrey’s exquisite dancing. Several audience members audibly sighed upon the entrance of Victoria Jaiani as Kitri, who stole the show from the beginning until her series of about 30 fouetté turns in the final scene.
The company numbers were each dynamic, fun, and often sassy and coy. At times they were almost soothing– I would get lost in a dance and it would seem unnatural for the dancers to stop moving at the end. Although a few company soloists moved a little stiffly and at times lost their expressions, this company is truly outstanding. The clever use of movement and expression to convey humor kept the audience engaged throughout the evening. The male soloists lived up to the leading lady, although before attempting the most difficult leaps and turning jumps they appeared a little worried, which made me nervous. However, Carlos Quenedit as Basilio was so successful in these attempts that in his final sequence, an audience member behind me cheered “yes!” upon each landing as if she were coaching a gymnast.
The details of the polished set and projected backgrounds set the stage for the dancers’ success. They were dressed in marvelous costumes of red, orange, turquoise, and sparkly gold. The warm, vivid colors of the ruffled dresses, bedazzled tutus and swooshing capes gave the story its Spanish touch, as did the detailed, fans, tambourines, and castanets. The production even featured a giant, puppetted pony for which two dancers provided the legs. The moving projections illustrated the story between and even during scenes. Projections designer Wendall Harrington achieved a creative use of artwork and media to tell this story, while maintaining the integrity of the piece.
Applause fairly rang through the Auditorium Theater on opening night. The audience enthusically supported the company, and they did not disappoint in technique or spectacle. There are only 10 performances, and I have no doubt that each night will be as successful as the first. Don Quixote opens a promising season with the Joffrey, complete with flying, diving, tradition, seduction, and most of all, beauty.
Carrie Fisher Lives to Tell in “Wishful Drinking”
By Devlyn Camp
When Judy Garland and Vincente Minnelli had Liza, a star was born. When Debbie Reynolds and Eddie Fisher had their daughter, star quality was born. A girl, who could have taken it easy after sci-fi fame surprised her, pushed forward into her own kind of enchanting celebrity. Though she sang, wore all black and shot glitter into every nook and cranny of the Bank of America Theatre, Liza she ain’t. Triumphing over the insanities of celebrity parents, drug abuse, her stay with a mental institution and more, Carrie Fisher gladly points out, “If my life wasn’t funny, it would just be true.” And that’s what the wonderful Wishful Drinking is all about.
Fisher’s one-woman show is comedic therapy, a sort of audience-interactive stand-up show for the crazy lady in all of us. Carrie lets her viewers ask her questions about waking up in bed with a dead guy, and she’ll even buy you a drink if she really gets along with you. She’s up for anything, as long as it’s funny. If it’s not, she knows how to make it so. Carrie invites her audience into her wacky, eclectic set like she’s been waiting in her living room for years to tell you her story. Two couches sit between side tables holding nick-knacks and Star Wars toys. It’s warm and inviting, welcoming everyone into Carrie’s living scrapbook, where she tells stories using the upstage screen’s old photos and videos. And yes, she plays Star Wars. And yes, she remembers all her lines.
Former Princess Leia runs around her stage barefoot and wigged telling the whole world all about “Hollywood inbreeding” among her divorced parents who habitually remarried other stars. The woman is a delightful wreck. If you’re looking for Nerd Nirvana, here it is: Star Wars, celebrity pop culture past and present, and hundreds of gays on the edge of their seats waiting for Carrie’s next syllable. For anyone that ever wondered, “What happened to Carrie Fisher?” they can safely say she turned lemons into some delicious lemonade, and Obi-Wan is far from her only hope.
WISHFUL DRINKING
Bank of America Theatre
Now through October 16th
Tickets $25-65
Available at www.broadwayinchicago.com
Photo courtesy Cylla von Tiedemann
Contact critic at devlynmc@yahoo.com
Rodgers & Hart: A Celebration
Rodgers & Hart: A Celebration at Light Opera Works
Light Opera Works Second Stage
1420 Maple Avenue, Evanston IL
Runs October 2-November 6, 2011
Box Office (847) 869-6300; $27-42
Recommended
A classy night of music by Rodgers and Hart
Review by Darcy Rose Coussens
Light Opera Works offers the best of the music of Richard Rodgers and Lorenz Hart in one entertaining review. The six performers covered a whopping 57 songs, mixing it up with selections such as “Blue Moon,” “Sing For Your Supper,” “Bewitched, Bothered and Bewildered,” and “The Lady is a Tramp.” The singers were excellent and the show well planned, with a concept by Richard Lewine and John Fearnley.
Although there were such a large number of songs represented in the review, the performers smoothly transitioned from one to the next. The first act felt a bit long, but the second act picked up with much more energy and the medleys of old favorites were accompanied by props and personality. Director and choreographer Rudy Hogenmiller, also artistic director of Light Opera Works, and music director Linda Slein have polished the works of Rodgers and Hart into a single cohesive show with plenty of variety.
The audience stood at the end for the charming performers, who wore tuxes or black dresses and sparkly jewelry. Altogether, this was a class act. The show is for ages 12 and older, and tickets are half price for guests ages 21 and younger. If you’re a Rodgers and Hart fan, this is absolutely a night you will enjoy.
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