Reviews Category
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
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
"Starting Here, Starting Now" at Theo Ubique
By Devlyn Camp
Theo Ubique at No Exit Café is currently presenting a vibrant cabaret performance of Starting Here, Starting Now.
The Richard Maltby, Jr. and David Shire story-song show takes on a 1970s atmosphere, right at home as a show first produced in ’76. The three-person show about various forms of love is set around a single bed where they charmingly disco and try to entreat each other for attention. Hillary Patingre is particularly charming. She’s quite funny and quirky, and completely capturing in her solo “Autumn.” Equally entertaining, Stephanie Herman is a total joy. She’s confident, silly and smart.
The second act is made up of more meaningful solo numbers, still focused around stories and love. The wonderful performances, and fantastic directing by Fred Anzevino, prove that the best kind of theatre is non-spectacle theatre. While no judgment is held against the big glittering Broadway smashes headed into town, the little cabarets like Theo keep us aware of what really matters.
STARTING HERE, STARTING NOW
Theo Ubique at No Exit Café
Now through November 6th
Tickets $25-30, available at theoubique.org
or call (800) 595-4849
Contact critic at devlynmc@yahoo.com
Moby-Dick at Building Stage
By Devlyn Camp
When you step onto the Building Stage to cross to your seat, you’ve stepped onto the Pequod and out to sea with six dueling Ishmaels that tell the tale of Moby Dick and Captain Ahab’s chase for revenge.
The boat is backed by a chalkboard where the facts are written out throughout the show. The audience is in a sort of Moby Dick School, following the story as obsessively as Ishmael studies his strange captain. Above the chalkboard, three percussionists and several drums represent the ocean in fantastic music by Kevin O’Donnell. Proven here, if ever the sea should be an instrument, it would be drums. The musicians are incredibly quick and talented, and their performance is half the fun of the show.
Each cast member portrays all the members of the ship, passing the character with the costume piece. The boats taken out to sea are miniature ships and waves are played by handkerchiefs. This show is high-scale backyard playing with much better acting, and it’s actually rather funny, too. The play is so fun and moving that the language of the novel is hardly noticeable. It’s absolutely captivating.
With the smart directing of Blake Montgomery, the beautiful set, and welcoming, warm people of The Building Stage, this revamp of their 2006 production is a wonderful must-see to put on your calendar immediately.
Also, have you seen their ad? It’s hilarious.
MOBY-DICK
The Building Stage
Now through October 30th
Tickets $22 (Students $12)
available at www.buildingstage.com
or call (312) 491-1369
Contact critic at devlynmc@yahoo.com
Seven Less-Than-Scary Stories at Pastime
By Devlyn Camp
Clock Productions at National Pastime Theater is currently presenting “Seven Scary Stories.” As the title here suggests, this work is far from scary. In fact, they’re barely “stories.” Just “seven” pieces. In an attempt at a Halloween show, the simple, dull script hardly communicates feelings of trepidation or anxiety. The costumes are cheap, the jokes are lame, and the acting is less than average. After a bit, one might think this is an attempt at some kind of camp, like The Evil Dead or Killer Klowns from Outer Space, but it’s somewhere lost in between comedy and drama. The actors’ gumption is, of course, half-baked as they push through such an unsuccessful script by David Denman. There are plot holes, unlearned lines, and frankly, a complete Young Frankenstein rip-off. There comes a point in production when an artist must look at their work, admit it’s not right, and head back to the drawing board. This is that moment.
SEVEN SCARY STORIES
National Pastime Theater
Now through October 31st
Tickets available at www.npt2.com
Contact critic at devlynmc@yahoo.com
Burying Miss America at New Leaf Theatre
By Devlyn Camp
A world premiere, Burying Miss America is a one-act play about two siblings who attend the funeral of their mother, Nebraska’s Miss America.
The show is not about theatrics. In fact, it’s quite simple. The only lighting cue is at the top of the show when gorgeous lights brighten in the windows behind the casket. The rest of the set, the theater, is a normal funeral setting. The audience is seated around the sides of the room. I actually thought I had stumbled into a real funeral when entering the theater. The simple setting allows the play to focus on the story.
The beauty queen’s children are very plain, normal people. Her son, Boxer, is a trumpet player living in New York City, and her daughter, Jean, still lives in Nebraska raising her children. Their conversation examines their relationship with each other and with their mother, who may not have been the kindest woman when out of the spotlight. Boxer has returned home for the first time in a while to settle the will, but realizes he has other unsettled problems with his sister. Going home can be an experience that lifts a weight off one’s back, but can also open forgotten emotions.
New Leaf’s newest production is well written and well acted, and a recommended show to catch when you’re down in Lincoln Park.
BURYING MISS AMERICA
New Leaf Theatre
Now through October 29th
Tickets $15-25, available by calling (773) 980-6391
or at newleaftheatre.org
Contact critic at devlynmc@yahoo.com
RECOMMENDED SITES
