News & Reviews Category
Street Tempo’s Impassioned Debut: ‘Let My People Come!’
By Devlyn Camp
Don’t bring your children. Don’t bring your right-wing mother. Don’t bring your grandma. Unless she’s into songs titled “Whatever Turns You On” and “Dirty Words.” And if that’s the case, bring her along! The disclaimer is right there in the title: ‘Let My People Come! A Sexual Musical,’ and ‘sexual’ just might be an understatement. The 1974 off-Broadway musical finds new life in brand new theatre company Street Tempo, which has a home, like many other companies, at Stage 773. Covering all the bases of sexuality, from hardships to secrets to all the favorite kinks and pleasures, Broadway Babies are all grown up in a sensationalistic production of Let My People Come.
The musical review doesn’t only toy with kinky costumes and overbearing urges. Throughout the act, cast members reveal true sexual and personal facts about their selves that are beautiful and sometimes pretty funny. They tell sentimental stories of their sexual past and stand bare, metaphorically, for their audience. The literally bare part comes later. It’s a message that lifts up the fun of sex, but above that, shows a beautiful respect for love. There is even a number performed by the powerful Teressa LaGamba that glorifies virginity and the wait for love.
The mighty ensemble has a wide range of ample talent. Matthew T. Payne gets half the show’s laughs during his dating ad bits, Jennifer Oakley’s voice could stand down Trump Tower, and Elianna Stone will prove on her own just how sexy this show can be. The strongest feature number includes two stools, an audience member, Will Hoyer and the Pips. Backed by four ladies, Hoyer lures an unsuspecting gentleman into his arms and asks in song for him to “Come in My Mouth.” Even if the lyrics make you uncomfortable (in which case, go home), Hoyer hits some lusty, mean Mariah Carey notes.
These prime actors are led by a fine band and fantastic music director, Kory Danielson. His comely tunes unite outrageously feel-good vocals and rip right through 773. Brian Posen’s imaginative and steamy staging with the flirtatious choreography sets up the performers to completely satisfy their voyeurs. So here’s my big problem: I have crushes on all of them.
LET MY PEOPLE COME!
Street Tempo Theatre Co.
Through December 31, 2011
Tickets $28, available at stage773.com
Photo courtesy Brian Peterlin
Contact critic at devlynmc@yahoo.com
Stagnant 'Middle Ground' at Side Project
By Devlyn Camp
When one plays a game they’re applying strategy with chance. I know this plan can work, and hopefully my opponent will unknowingly cooperate.
Cards are dealt, words are exchanged, poker face. This multiple-person dance of intelligence carries on, while somewhere in the back, we, the theater crowd, sit at the slots and leave it all on chance. There’s not much strategy to picking the right show. We drop in a coin, pull the lever, and pray to Dionysus that there’s an intermission getaway if the play bombs. We’re playing the slots, Chicago theatre-goers, and in our game there’s no Tommy Glenn Carmichael.
Anyone who is out and about regularly seeing shows is bound to come across a dud. It’s unfortunately inevitable. And if any readers caught my recent soapbox digression, it’s my opinion that such duds are typically lacking comedy. In the case of Side Project Theatre Company’s ‘Through the Middle Ground,’ there is much more lacking. It begins with an extremely drawn out, very quiet opening dialogue. The audience’s attention has already ducked out.
The two act play takes place in an apartment where a soldier returns home to his girlfriend after battle. He is different, but so is she. The only thing he seems to enjoy in life now is his new stray pet bird. This exposition is formed within the first scene, and then… nothing. As the powerless piece keeps on, it seems there’s actually no plot. There are two people talking, a caged bird, and an on-stage dripping faucet that holds more attention than the entire first act. It’s all small talk and long silences with little effort from the actors. As far as critical analysis goes, there’s so little to discuss.
But it’s easy to whine away at the flops, although they’re bound to happen. As with anything, we take them in stride. There are shows that have no story, no intelligent dialogue, no intrigue… a.k.a. goose egg. Sometimes we have to look back at the flatlined failure and remember: They can’t all be Book of Mormon.
What do you think? Post your comments below. Let’s talk.
THROUGH THE MIDDLE GROUND
The Side Project Theatre Company
Through December 18th
Tickets $20, available at thesideproject.net
Contact critic at devlynmc@yahoo.com
‘The Gray Girl’ Shines Bright at Factory Theater
By Devlyn Camp
It’s been a stream of tough plays lately, at least for some of us. It feels like it’s been a few weeks since something opened that was at least somewhat exciting to talk about, tweet about, or tumblr on (whatever that means, kids). But then, enter Factory Theater. The final show to open in their 2011 season, ‘The Gray Girl,’ is an unexpectedly spooky crime-thriller of the 1950s. Both haunting and powerful, the scenes open lit by an upstage panel of windows silhouetting the posed characters. Each scene reveals a new piece to the case of two missing reporters who co-authored an exposé on Chicago crime in Riverview Park. These pieces and parts open skillfully staged flashbacks and introduce more intriguing characters.
The show takes a great twist with a ghost haunting the criminal in charge, politician Richard Morse (Shannon Parr). In tense scenes in which the power goes out, she haunts Morse and his henchmen as they hunt their escaping kidnapped journalists. Matt Engle directs beautiful hide-and-go-seek chases with flashlights and lighters taking the place of stage lights. Engle sets up keen suspense as many characters’ stories weave in and out of the main plot. He also has good writing to thank for that edge, by Colin Milroy (also playing the lead). Milroy’s 75 minute work brings a large story to life quickly and cleverly, while including decent subplots and funny characters. While sustaining its dramatic edge, ‘Gray Girl’ brings out some good laughs along with its jolting gasps.
While our encounters in live theater can be hit and miss, it’s so wonderful to applaud at the curtain call and mean it. Not that that is rare, just that it is wonderful, and Factory Theater hits the nail on the head in entertaining its audience with this new work. Prepare to be spooked.
Any thoughts to add? Comment below! Let’s talk.
THE GRAY GIRL
Factory Theater
Through December 17, 2011
Tickets $15-20, available at thefactorytheater.com
Contact critic at devlynmc@yahoo.com
Marriotts Christmas Gift
Early Gift of a “White Christmas”
By Lazlo Collins
It’s easy to be cynical about the holiday season, especially if it is before Halloween and you are about to get the full onslaught of “White Christmas”; however, most cynicism evaporates when the cords of those familiar tunes begin. Irving Berlin’s 1954 movie musical was the original inspiration for the 2004 stage adaptation by David Ives and Paul Blake.
Marriot Lincolnshire’s production of “White Christmas a pleasing, non-denominational greeting card to those that remember the score and characters from the movie. The story of soldier loyalty, singing acts, and “Hey, you’ve got in an Inn, Let’s do a show!” needs little introduction. Under the direction and choreography of Marc Robin, the show glides along with few surprises, but plenty of 50”s nostalgia and topnotch tapping.
The GI buddies Phil Davis (Andrew Lupp) and Bob Wallace (Rod Thomas) are endearing from the start. Mr. Thomas has a classic crooner style, while Mr. Lupp is a standout throughout the show with his energy, timing and tapping expertise. The ladies that accompany the singing duo of Wallace and Davis throughout the holiday mayhem are the Haynes Sisters, Judy (Tammy Mader) and Betty (Stephanie Binetti). Ms. Binetti sustains grace and unease in her role as mother hen, while it’s hard not to smile when Ms. Mader takes the stage while she is singing or dancing.
Meanwhile back at the Inn, General Henry Waverly (David Lively) keeps the staunch, but loveable, authority figure warm and endearing among the blizzard of activity that unfolds around the Inn. Mr. Lively keeps the pathos believable in his reenlistment rejection by the army. (Although, I thought the “okay, just kidding, we will take you back in the army” letter at the end of the show seemed tacked on.)
Also holding down the Inn, are the General’s housekeeper, Martha Watson; played with Broadway diva power by Alene Roberston. Ms. Robertson passes down her inspiring ways to the General’s granddaughter. In this role, Madison Gloria Olszewski, throws off the muffler and belts like a pro.
Among the plans to help the General with the benefit show to save the Inn(and presumably the General’s depression), Michael Weber and Michael Aaron Lindner keep the action lively with great comic timing and stock interpretations.
With the top of Act Two’s breathtaking tap extravaganza, and all the dancing throughout the show, Marc Robin’s choreography is simply great and fun to watch. The chorus seems to completely enjoy themselves and sells the corny holiday magic completely.
With the appropriately festive set design (Thomas M. Ryan) and rounding up the visual appeal with the fab 50”s costume design (Nancy Missimi), “White Christmas” would make any holiday cynic smile.
While there are no theatrical surprises in the production and the stage adaptation is bit different than the original movie; the good-will sentiment and the loveliest songs are still intact. If you are inclined for some wholesome holiday entertainment for the whole family, “White Christmas” runs through 1 Jan 2012. 847-634-0200. www.Marriotttheatre.com
‘Seascape’ at Promethean Too Smart or Too Dull?
By Devlyn Camp
Promethean Theatre Ensemble is nuzzled back in its spot at Live Bait Theater (previously The Artistic Home) for two-person play Seascape with Sharks and Dancer. The incomplex but smart piece follows a lonely writer, Ben (Nick Lake), as he tends to the rough and tough woman he rescued from drowning in the nearby tide, Tracy (Anne Korajczyk). The first act dives right in without exposition as the two play a game if wits, trying to impress one another while refusing to like each other. We probably know where this is going, right? They fall in love, problems ensue. The play itself – the writing – is a little odd in that it tries so hard to be clever. Playwright Don Nigro’s language feels contrived and awkward. But this could be the fault of weak acting. The performers, although qualified, seem uninspired. They run around in the simple living room set trying to be unique and quirky and don’t often succeed.
It seems that the piece the play is lacking is comedy. The production is not without its redeemable material. Conversations are aggressive and interesting and hold attention through the 90 minutes. But there’s a void. In brief moments we see Korajczyk smile at her own puns, which she deserves. In a play that’s so, let’s just say it, tepid, why not buff up the comedy side? Rarely does any frequent theatergoer say no way to laughter. Too many productions take a dark, harsh tone with their story in order to appear distinguished or intelligent, and those productions miss out on the point of performance: entertainment. Not to say those dramatic works aren’t, well, distinguished, intelligent or entertaining (e.g. most anything Sondheim), but more often than not they’re missing the mark.
Stepping off the soapbox, it still should be clear that this production of Seascape is still quite good. While it is enjoyable, it unintentionally hit a nerve – for me, anyway. Broadening our minds in a somewhat flat play could reveal a comedic tone that not only deepens the dramatic moments, but better entertains the audiences.
SEASCAPE WITH SHARKS AND DANCER
Promethean Theatre Ensemble
Through December 10, 2011
Tickets $20, available at prometheantheatre.org
Anne Korajczyk and Nick Lake. Photo courtesy Tom McGrath.
Contact critic at devlynmc@yahoo.com
‘Million Dollar Quartet’ Extended Again!
By Devlyn Camp
You didn’t forget about Million Dollar Quartet, did you? They’ve been here for three years, but the wild and crazy 1956 night at Sun Records will rock on until at least May 2012.
Quartet is based on the famous impromptu gathering of Elvis Presley, Johnny Cash, Carl Perkins, and Jerry Lee Lewis in the ’50s, which was recorded and set into history as one of the most famous nights of rock and roll. The jukebox show had a limited run at the Goodman Theatre in 2008 and transferred to the Apollo shortly after, where it still relives the night five times a week. Quartet opened on Broadway in 2010 and played a little over a year before transferring off-Broadway, where it remains playing. But why go out to New York City when the extraordinary talent is hammering away at pianos and guitars in our own backyard?
MILLION DOLLAR QUARTET
Apollo Theater
Running through May 2012
Tickets $72-77
Contact critic at devlynmc@yahoo.com
'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
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