Peoria Players opened their 95th season Friday night with a stunning production of "Les Miserables".
Based on the iconic Victor Hugo novel, this story has a bit of everything - love, passion, politics, penance, redemption, faith, and the meaning of life.
As a musical, it has been wildly popular and is, indeed, one of this patron's favorite modern musicals.
Given the show's soaring, operatic score, it is also a difficult and ambitious undertaking for any amateur theater group. I held my breath in anticipation, wondering if Peoria Players could pull it off.
I am happy to report that not only did they "pull it off", but this production replaces "Drowsy Chaperone" on my list as the best thing I have ever seen on the Players' stage!
With a large cast of dozens, there was not a single mediocre vocal performance in the lot.
Among the principles, it is extemely difficult to single out any performance as being superior to the others. Having said that, John Huerta as Inspector Javert was nearly flawless. Likewise, Brian Witkowsi as Marius, has a quite amazing and powerful voice. These two could easily have thrown away their body mics and still deliver the performances they did.
Although his voice cracked on the admittedly difficult but beautiful "Bring Him Home", Charles Brown was excellent as Jean Valjean. According to the program this was Mr. Brown's first leading role at PPT in 34 years! Please, Mr. Brown, do not stay away so long!
Ashley Rufus (Fantine) did a great job on the classic "I Dreamed a Dream". Chloe Martin's wonderful performance as Cosette was only marred by her microphone cutting out during two of her beautiful numbers. Lindsey Pugh also was excellent as the star-crossed Eponine.
Veteran actor Steve Bortolotti and Rachel Lewis shone as the dastardly but lovable Thenardiers. Their delivery of the comic-relief "Master of the House" was precisely executed. Not only did the actors belt out the number appropriately, but they moved seamlessly among their guests relieving them of their valuables in a perfectly choreographed number.
In a brilliant bit of casting, Gianna Colombo as Gavroche was a double threat. Not only did this young lady deliver a great vocal performance, but her acting was superb. I predict a great future for this young actress. I only hope she is in dance class as well in order to become the proverbial triple threat!
In a presentation of this caliber, one must acknowledge the director. Indeed, Connie Sinn's direction was apparent in the attention to every detail in this show. I have seldom seen such focus on the part of the actors. Anytime you have dozens of people on the stage at once, you can usually see one or two scanning the audience or mugging for their relatives. I never saw a single actor 'out of character' and I attribute this to Ms. Sinns' direction.
As stated earlier, this is one of my favorite modern musicals. I still get goosebumps when the priest gives the symbolic candlesticks to Valjean or during the wrenching "Bring Him Home". And who can keep a dry eye with lyrics such as "to love another person is to see the face of God"?
Thank you to Peoria Players, Connie Sinn, and the remarkable cast for such a wonderful opener. I hope that the rest of the 95th season will be half as good.
Les Miserables continues through September 15th at the theater in Lakeview Park.
Sellouts are likely so get your tickets ASAP!
The box office number is 309-688-4473.
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Showing posts with label theater review. Show all posts
Showing posts with label theater review. Show all posts
Saturday, September 7, 2013
Sunday, September 16, 2012
- Theater Review - 9 to 5 the Musical
Featuring the regional premier of "9 To 5 - The Musical", Peoria Players Theater opened their 2012 - 2013 season not with a bang but with a whimper.
"9 To 5 - the Musical" is based on the 1980 movie "9 to 5" starring Dolly Parton, Lily Tomlin, and Jane Fonda as three downtrodden office workers who become feminist heroes when they kidnap their mean chauvinistic boss (Dabney Coleman) and take over the company.
The stage adaptation adds musical numbers but follows the movie perhaps too closely, even using exact dialog from the film.
In many ways this sets up a difficult challenge for the actors. After all, Dolly Parton has awfully big ... shoes ... to fill.
There are aspects of the Players production that should have resulted in a fine show, but in the end it simply did not come together.
All the principals have good voices and for the most part delivered their songs well. (Choreography, well, that's another story!)
Rachel Lewis as Doralee (the Dolly role) delivered well vocally but plodded through her numbers with a lack of energy and enthusiasm. The number "Back Woods Barbie" is all about confidence in her identity. It should have been a fun and rollicking number but Ms. Lewis barely cracked a smile and made it seem like a chore.
Kelli Mathis as Violet suffered from the same timidity. Her dance numbers were painful to watch as I could almost see her counting her steps, stone faced.
I suppose this can be chalked up to the direction.
Perhaps Director Nate Downs concentrated too much on technique rather than encouraging his actors to let go, inhabit their roles, and have fun.
The third lead, Katie McLuckie as Judy had just the opposite problem as the other two. Her take on the character was way too much confidence!
Ms. McLuckie wowed us a season or two ago with her exceptional portrayal of Kitty in "The Drowsy Chaperone". While that role is all about "mugging for the camera", her Judy would have been much better if dialed back a notch.
I couldn't help but imagine that the show would have been vastly improved if Ms. McLuckie and Ms. Mathis had switched roles.
The one actor who got the correct mix of technique and confidence was Carolyn Briggs-Gaul as Roz. She stole the show with her strip-tease number on the boss' desk.
It was the show-stopper of the evening!
Despite the problems with this show, the audience (one of the smallest houses I have seen at Peoria Players) gave the performance a standing ovation.
I realize that an opening night audience is probably heavy with friends and families of the performers who felt obligated to give a pity ovation.
However, it drives this theater snob crazy that Peoria Players patrons think EVERY show there merits a standing ovation. This one just didn't.
Anyone who would stand for this production has spent too many hours on the sofa anticipating the antics of Honey Boo-Boo.
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"9 To 5 - the Musical" is based on the 1980 movie "9 to 5" starring Dolly Parton, Lily Tomlin, and Jane Fonda as three downtrodden office workers who become feminist heroes when they kidnap their mean chauvinistic boss (Dabney Coleman) and take over the company.
The stage adaptation adds musical numbers but follows the movie perhaps too closely, even using exact dialog from the film.
In many ways this sets up a difficult challenge for the actors. After all, Dolly Parton has awfully big ... shoes ... to fill.
There are aspects of the Players production that should have resulted in a fine show, but in the end it simply did not come together.
All the principals have good voices and for the most part delivered their songs well. (Choreography, well, that's another story!)
Rachel Lewis as Doralee (the Dolly role) delivered well vocally but plodded through her numbers with a lack of energy and enthusiasm. The number "Back Woods Barbie" is all about confidence in her identity. It should have been a fun and rollicking number but Ms. Lewis barely cracked a smile and made it seem like a chore.
Kelli Mathis as Violet suffered from the same timidity. Her dance numbers were painful to watch as I could almost see her counting her steps, stone faced.
I suppose this can be chalked up to the direction.
Perhaps Director Nate Downs concentrated too much on technique rather than encouraging his actors to let go, inhabit their roles, and have fun.
The third lead, Katie McLuckie as Judy had just the opposite problem as the other two. Her take on the character was way too much confidence!
Ms. McLuckie wowed us a season or two ago with her exceptional portrayal of Kitty in "The Drowsy Chaperone". While that role is all about "mugging for the camera", her Judy would have been much better if dialed back a notch.
I couldn't help but imagine that the show would have been vastly improved if Ms. McLuckie and Ms. Mathis had switched roles.
The one actor who got the correct mix of technique and confidence was Carolyn Briggs-Gaul as Roz. She stole the show with her strip-tease number on the boss' desk.
It was the show-stopper of the evening!
Despite the problems with this show, the audience (one of the smallest houses I have seen at Peoria Players) gave the performance a standing ovation.
I realize that an opening night audience is probably heavy with friends and families of the performers who felt obligated to give a pity ovation.
However, it drives this theater snob crazy that Peoria Players patrons think EVERY show there merits a standing ovation. This one just didn't.
Anyone who would stand for this production has spent too many hours on the sofa anticipating the antics of Honey Boo-Boo.
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Sunday, November 13, 2011
- Theater Review - Annie
Peoria Players continues their 2011-2012 season with the perennial favorite, "Annie".
While this show is done a bit too frequently by amateur groups, it nevertheless has great value in that it offers a lot of young people what may well be their first theater experience.
That experience may be onstage or as an audience member.
The Peoria Players' production that opened on Friday is a wildly uneven presentation.
Maddy Hoskins is positively charming in the title role. She has the voice, the moves, and the stage presence to make it work.
All of the other orphans are delightful as well. Their singing, dancing, and acting are right on target.
"Its A Hard-knock Life" is one of the highlights of the show.
Another highlight was Bryan Blanks' performance as Rooster. I have seen Mr. Blanks in this role before (I believe at Eastlight) and he honed it even better here for a truly professional quality performance.
Dave Schick was excellent as Daddy Warbucks, and Anne Gonzalez' Grace Farrell was equally good.
While Cheryl Dawn Koenig was good as Miss Hannigan, her performance was marred by a bad microphone - a constant problem at this theater.
While the choreography was good in the orphan numbers and in "Easy Street", it was virtually non-existent in some of the other numbers.
"Hooverville" was particularly awful with the actors flailing aimlessly about the stage.
But the fatal flaw for this production was the orchestration.
Now in my last Peoria Players review, when I criticized the direction, I received the most hate mail ever for a review.
So get your poison pens ready....
Here goes:
A musical requires good music, and this was the absolute worst orchestration I have ever heard in a production above high school level.
Perhaps there were grade school kids down in the pit, I don't know. It certainly sounded like children learning to play without a conductor present.
Or perhaps the conductor was Harold Hill, relying on his "think system".
Indeed, the orchestra threw a couple numbers into chaos when the singers did not know what to do with sudden unpredictable changes in tempo.
If Players cannot secure a better orchestra or musical director than this, then please, please consider professionally recorded music for your next musical!
Anyway, go see this show for the orphans.
They sing loud enough to drown out the orchestra.
"Annie" runs through November 20th at the theater in Lakeview Park.
.
While this show is done a bit too frequently by amateur groups, it nevertheless has great value in that it offers a lot of young people what may well be their first theater experience.
That experience may be onstage or as an audience member.
The Peoria Players' production that opened on Friday is a wildly uneven presentation.
Maddy Hoskins is positively charming in the title role. She has the voice, the moves, and the stage presence to make it work.
All of the other orphans are delightful as well. Their singing, dancing, and acting are right on target.
"Its A Hard-knock Life" is one of the highlights of the show.
Another highlight was Bryan Blanks' performance as Rooster. I have seen Mr. Blanks in this role before (I believe at Eastlight) and he honed it even better here for a truly professional quality performance.
Dave Schick was excellent as Daddy Warbucks, and Anne Gonzalez' Grace Farrell was equally good.
While Cheryl Dawn Koenig was good as Miss Hannigan, her performance was marred by a bad microphone - a constant problem at this theater.
While the choreography was good in the orphan numbers and in "Easy Street", it was virtually non-existent in some of the other numbers.
"Hooverville" was particularly awful with the actors flailing aimlessly about the stage.
But the fatal flaw for this production was the orchestration.
Now in my last Peoria Players review, when I criticized the direction, I received the most hate mail ever for a review.
So get your poison pens ready....
Here goes:
A musical requires good music, and this was the absolute worst orchestration I have ever heard in a production above high school level.
Perhaps there were grade school kids down in the pit, I don't know. It certainly sounded like children learning to play without a conductor present.
Or perhaps the conductor was Harold Hill, relying on his "think system".
Indeed, the orchestra threw a couple numbers into chaos when the singers did not know what to do with sudden unpredictable changes in tempo.
If Players cannot secure a better orchestra or musical director than this, then please, please consider professionally recorded music for your next musical!
Anyway, go see this show for the orphans.
They sing loud enough to drown out the orchestra.
"Annie" runs through November 20th at the theater in Lakeview Park.
.
- Theater Review - Almost, Maine
Bradley University Theatre opened their second show of the 2011-2012 season on Thursday evening.
"Almost, Maine" is an absolutely delightful little romantic comedy.
It consists of a series of ten vignettes that all take place at the same time on the same day in the fictional town of Almost, Maine.
Six actors play a total of nineteen different roles.
The six actors are Ross Cochran, Ashley Bendien, John Carroll, Chloe Dzielak, Jake Hayes, and Krystal Uhl.
The common themes that tie the pieces together are falling in love (and out) and the Northern Lights or the Aurora Borealis.
Perhaps the latter - a beautiful, rare, and natural phenomenon - is symbolic for the former.
The show opens and closes with a sweet bit about life on this globe, and and how when we think we are close to someone, that perhaps we couldn't be further apart.
And it takes a bit of effort indeed to get truly close to someone.
Another story involves a pair of drinking-buddy best friends who find themselves falling in love - literally!
There also is a young woman who journeys northward to view the Northern lights bearing her recently broken heart - literally!
Another tale concerns a young woman who seeks to get back all the love she has given her lover of eleven years - literally!
While a couple of the stories are poignant/sad, the majority are funny and clever romps. They seem pleasantly simple on the surface, and yet are layered with symbolism and deeper meaning.
All the young actors do a wonderful job with this show.
It was particularly enjoyable to see Ross Cochran, who has been drawn to darker roles in past productions, deliver some fun and funny performances here.
Chloe Dzielak, who was so wonderful as Mother in the season opener, "Ragtime", returns here with some equally superior performances.
"Almost, Maine" is pure enchantment.
Go see this show, and I guarantee you will not be disappointed.
It runs through November 20th at Hartmann Center on the BU campus.
.
"Almost, Maine" is an absolutely delightful little romantic comedy.
It consists of a series of ten vignettes that all take place at the same time on the same day in the fictional town of Almost, Maine.
Six actors play a total of nineteen different roles.
The six actors are Ross Cochran, Ashley Bendien, John Carroll, Chloe Dzielak, Jake Hayes, and Krystal Uhl.
The common themes that tie the pieces together are falling in love (and out) and the Northern Lights or the Aurora Borealis.
Perhaps the latter - a beautiful, rare, and natural phenomenon - is symbolic for the former.
The show opens and closes with a sweet bit about life on this globe, and and how when we think we are close to someone, that perhaps we couldn't be further apart.
And it takes a bit of effort indeed to get truly close to someone.
Another story involves a pair of drinking-buddy best friends who find themselves falling in love - literally!
There also is a young woman who journeys northward to view the Northern lights bearing her recently broken heart - literally!
Another tale concerns a young woman who seeks to get back all the love she has given her lover of eleven years - literally!
While a couple of the stories are poignant/sad, the majority are funny and clever romps. They seem pleasantly simple on the surface, and yet are layered with symbolism and deeper meaning.
All the young actors do a wonderful job with this show.
It was particularly enjoyable to see Ross Cochran, who has been drawn to darker roles in past productions, deliver some fun and funny performances here.
Chloe Dzielak, who was so wonderful as Mother in the season opener, "Ragtime", returns here with some equally superior performances.
"Almost, Maine" is pure enchantment.
Go see this show, and I guarantee you will not be disappointed.
It runs through November 20th at Hartmann Center on the BU campus.
.
Sunday, October 23, 2011
- Theater Review - Wicked
I have procrastinated in putting up a review of "Wicked", now playing at the Peoria Civic Center Theater, because...well, what more can be said?
Oh, alright, here goes:
"Wicked" is without a doubt, the theater event of the season here in Peoria.
With so many performances, this is a show that will attract many theater people, as well as folks who will see only this one show this year.
This is one of those shows that truly does have something for everyone.
The book is a clever reassignment of relationships for iconic characters whom everyone knows. These relationships are revealed in a believable behind-the-scenes retelling of the Oz story.
In addition, the show has a wonderful score of memorable songs with beautiful lyrics.
Foremost amongst these are "For Good", with words that can be used to describe all those people who "come into our lives for a reason"; "Defying Gravity", an uplifting (pun intended!) declaration of self-realization and the power of confidence; "Dancing Through Life", a song that may well describe the "unexamined life" led by far too many today; and "Wonderful", a song that says much about our lives in modern day America.
In addition to the music, the dancing, and the fine voices of all the principals, this show delivers what has become a major draw in American Musical Theater - sheer Spectacle!
The staging and special effects are guaranteed to wow all attendees!
From the Witch's defying of gravity, to Glinda's bubble, to flying monkeys, to rain in the woods, this production is a wonder of modern stage technology.
As I said, this is the major Theater Event of the year here in Peoria...
Don't be the only one to miss it!
.
Oh, alright, here goes:
"Wicked" is without a doubt, the theater event of the season here in Peoria.
With so many performances, this is a show that will attract many theater people, as well as folks who will see only this one show this year.
This is one of those shows that truly does have something for everyone.
The book is a clever reassignment of relationships for iconic characters whom everyone knows. These relationships are revealed in a believable behind-the-scenes retelling of the Oz story.
In addition, the show has a wonderful score of memorable songs with beautiful lyrics.
Foremost amongst these are "For Good", with words that can be used to describe all those people who "come into our lives for a reason"; "Defying Gravity", an uplifting (pun intended!) declaration of self-realization and the power of confidence; "Dancing Through Life", a song that may well describe the "unexamined life" led by far too many today; and "Wonderful", a song that says much about our lives in modern day America.
In addition to the music, the dancing, and the fine voices of all the principals, this show delivers what has become a major draw in American Musical Theater - sheer Spectacle!
The staging and special effects are guaranteed to wow all attendees!
From the Witch's defying of gravity, to Glinda's bubble, to flying monkeys, to rain in the woods, this production is a wonder of modern stage technology.
As I said, this is the major Theater Event of the year here in Peoria...
Don't be the only one to miss it!
.
Friday, October 14, 2011
- Theater Review - Over the River and Through the Woods
Peoria Players Theater opened their most recent offering last Friday night."Over the River and Through the Woods" is a small intimate comedy with a cast of six.
It is the story of a young second generation Italian-American and his relationship with his four grandparents.
Nick Cristano (Jarod Hazzard) is a successful young businessman who dutifully visits his grandparents in Hoboken every Sunday for dinner.
His maternal grandparents Frank (Mark Atkisson) and Aida (Judy Tilley) host dinner and his paternal grandparents Nunzio (Mike Dentino) and Emma (Maureen O'Haenny) live nearby and always attend.
As the play begins, Nick has arrived for a rare mid-week visit to share some unwelcome news with his grandparents.
Facing the crisis of turning 30, Nick has decided to take a job promotion that will send him a continent away from his family (his parents have retired to Florida).
The grandparents begin plotting a scheme to keep their grandson near. It involves fixing him up with Caitlin (Kerri Rae Hinman) a relative of Grandma Emma's canasta friend.
What ensues is a series of funny and tender events before Nick makes his final decision on whether to stay or go.
All the actors do a fine job with this piece. Ms. O'Haenney does steal the show somewhat, but I cannot decide if it is due to her great timing and stage persona or simply that her character has some of the best lines.
In any event. what's not to like about six charming people in a light and endearing comedy?
The show runs through October 16th at the theater in Lakeview Park.
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It is the story of a young second generation Italian-American and his relationship with his four grandparents.
Nick Cristano (Jarod Hazzard) is a successful young businessman who dutifully visits his grandparents in Hoboken every Sunday for dinner.
His maternal grandparents Frank (Mark Atkisson) and Aida (Judy Tilley) host dinner and his paternal grandparents Nunzio (Mike Dentino) and Emma (Maureen O'Haenny) live nearby and always attend.
As the play begins, Nick has arrived for a rare mid-week visit to share some unwelcome news with his grandparents.
Facing the crisis of turning 30, Nick has decided to take a job promotion that will send him a continent away from his family (his parents have retired to Florida).
The grandparents begin plotting a scheme to keep their grandson near. It involves fixing him up with Caitlin (Kerri Rae Hinman) a relative of Grandma Emma's canasta friend.
What ensues is a series of funny and tender events before Nick makes his final decision on whether to stay or go.
All the actors do a fine job with this piece. Ms. O'Haenney does steal the show somewhat, but I cannot decide if it is due to her great timing and stage persona or simply that her character has some of the best lines.
In any event. what's not to like about six charming people in a light and endearing comedy?
The show runs through October 16th at the theater in Lakeview Park.
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Saturday, September 24, 2011
- Theater Review - Ragtime
Bradley University Theater opened their 2011-2012 season on Friday with "Ragtime, The Musical".
The musical is based on the E. L. Doctorow novel of the same name. With an epic storyline and a cast of dozens, the show is a huge undertaking for any amateur theater group.
I am pleased to say Director Steve Snyder and his large cast deliver one of the finest productions recently seen on the Hartmann stage.
"Ragtime" is a snapshot of America during the first decade of the twentieth century. The show explores issues of racism, Labor strife, immigration and assimilation, as well as personal human relationships.
It intertwines the stories of three different groups - a wealthy WASP family, a group of European immigrants, and a group of African Americans seeking the American dream in an often hostile environment.
The cast of characters includes actual historical figures such as Booker T. Washington, Emma Goldman, and Harry Houdini.
Th show opens with a huge bang. The lavish title song introduces the entire company in a wonderful and catchy number. Featuring thirty-some actors in a perfectly synchronized performance, this opening number alone is well worth the price of admission.
...and it sets the tone for the two and half hours of excellent theater to follow.
While there is a range of vocal talent, each role is, without exception, well acted here.
With such a large number of great performances it is difficult to acknowledge just a few, but some of the top performances are as follows.
Chloe Dzielak stands out as Mother, the upper class matriarch who chooses a different course of compassion than her conservative husband. Ms. Dzielak has a beautiful voice and her acting is simply perfect. Her rendition of "Back to Before" is a knockout!
Morgan Green and Cecil Blutcher are excellent as the star-crossed lovers Sarah and Coalhouse. Their chemistry makes their performances even better.
Dakota Kuhlman is great as Tateh, the Latvian Jewish immigrant who captures the American dream for himself and his daughter.
Sarah Tilford is excellent and brings Emma Goldman to life. As Booker T. Washington, Julian Stroop shows serious maturity as an actor.
The set is simple yet functional and perfectly suited to the production. Costuming is some of the best and most elaborate that I have seen at Bradley.
The orchestra, directed and conducted by Julie A. Clemons, is wonderful.
My one and only issue with the production is that the orchestra did overwhelm some of the vocal performances. None of the actors wore microphones, and a couple of the singers did not project over the music.
...a minor complaint for an excellent production.
If this opening offering is any indication, I cannot wait for the rest of the Bradley University Theatre's season!
"Ragtime" runs through October 2nd at the Hartmann Center for the Performing Arts on the Bradley campus.
For tickets, contact the Box Office in the Hartmann Center at 677-2650.
You should not miss this show!
.
The musical is based on the E. L. Doctorow novel of the same name. With an epic storyline and a cast of dozens, the show is a huge undertaking for any amateur theater group.
I am pleased to say Director Steve Snyder and his large cast deliver one of the finest productions recently seen on the Hartmann stage.
"Ragtime" is a snapshot of America during the first decade of the twentieth century. The show explores issues of racism, Labor strife, immigration and assimilation, as well as personal human relationships.
It intertwines the stories of three different groups - a wealthy WASP family, a group of European immigrants, and a group of African Americans seeking the American dream in an often hostile environment.
The cast of characters includes actual historical figures such as Booker T. Washington, Emma Goldman, and Harry Houdini.
Th show opens with a huge bang. The lavish title song introduces the entire company in a wonderful and catchy number. Featuring thirty-some actors in a perfectly synchronized performance, this opening number alone is well worth the price of admission.
...and it sets the tone for the two and half hours of excellent theater to follow.
While there is a range of vocal talent, each role is, without exception, well acted here.
With such a large number of great performances it is difficult to acknowledge just a few, but some of the top performances are as follows.
Chloe Dzielak stands out as Mother, the upper class matriarch who chooses a different course of compassion than her conservative husband. Ms. Dzielak has a beautiful voice and her acting is simply perfect. Her rendition of "Back to Before" is a knockout!
Morgan Green and Cecil Blutcher are excellent as the star-crossed lovers Sarah and Coalhouse. Their chemistry makes their performances even better.
Dakota Kuhlman is great as Tateh, the Latvian Jewish immigrant who captures the American dream for himself and his daughter.
Sarah Tilford is excellent and brings Emma Goldman to life. As Booker T. Washington, Julian Stroop shows serious maturity as an actor.
The set is simple yet functional and perfectly suited to the production. Costuming is some of the best and most elaborate that I have seen at Bradley.
The orchestra, directed and conducted by Julie A. Clemons, is wonderful.
My one and only issue with the production is that the orchestra did overwhelm some of the vocal performances. None of the actors wore microphones, and a couple of the singers did not project over the music.
...a minor complaint for an excellent production.
If this opening offering is any indication, I cannot wait for the rest of the Bradley University Theatre's season!
"Ragtime" runs through October 2nd at the Hartmann Center for the Performing Arts on the Bradley campus.
For tickets, contact the Box Office in the Hartmann Center at 677-2650.
You should not miss this show!
.
Saturday, September 10, 2011
- Theater Review - Oklahoma!
"Oklahoma!" is a true American classic. It quite literally changed the face of musical theater at its debut in 1943. The very first collaboration by Rodgers and Hammerstein, the play opened to rave reviews, a record run, and even a Pulitzer.
It offers one of the most beautiful scores ever, and who can listen to a line like "The wind is so busy it don't miss a tree" and deny the genius of the lyricist?
After nearly 70 years, this still should be on anyone's list of the five greatest American musicals of all time.
Due to the show's appeal and popularity, it has been frequently staged at all levels.
Indeed, one of my own first theater experiences was when the drama club at my high school put on the play. I loved it at once and immediately rushed out to buy the soundtrack.
That vinyl soundtrack was long ago worn out and replaced by CD.
In the intervening years, I have watched the movie version literally dozens of times (really!) and I have seen the stage version several times.
So it was with high anticipation of revisiting a favorite classic that I attended Peoria Players Theater's Friday night opening of the show's debut on PPT's stage.
I hoped beyond hope that they would give this beloved show its due. Instead I was given a decent but uneven and deeply flawed production that was badly directed.
In a much earlier post, I shared my pet peeve of people talking through the overture. In a musical, the overture is PART OF THE PLAY! And for this play in particular, the overture was one of the things that made it ground-breaking in 1943. It is a beautiful and lush intro that goes well over five minutes.
Well in the Player's production, the (recorded) overture abruptly ended only a couple of minutes in; before the rude folks even ended their chattering.
There was no fade-out. The music just stopped and the curtain went up. This was a very inauspicious beginning to say the least.
The lead roles of Curly and Laurey were played by Jordan Lehman and Sarah Mayo. Mr. Lehman has a good voice and good acting abilities. I blame his rote delivery of "Oh, What a Beautiful Mornin'" and "The Surrey With the Fringe on Top" on poor direction rather than any lack of talent on his part. He needed to love and respect the words he was singing.
Ms. Mayo has a beautiful voice and her performance rose above the lack of direction.
Of the entire production, the truly standout performances were Amanda Bishop as Ado Annie and Aaron Elwell as Will Parker. These actors gave superb performances, both separately and in duet.
Sally Hodge was great as Aunt Eller and Alex Larson was perfectly cast in the non-musical role of Ali Hakim.
While Derek Childs did a good job as Jud Fry, it was hard to take him seriously in some of the worst makeup I have ever seen.
Jud Fry is a volatile and cruel character, but he is not intended to be a Zombie as his makeup suggested.
One of the bright spots of this production was the "dream ballet"; it was well staged and well executed.
Some of the other dance numbers, however, were way too crowded and roughly done. I felt like I was watching an early dress rehearsal rather than opening night.
The last and perhaps greatest insult of the evening was the finale featuring a surrey with the fringe on the side.
Yes, the surrey actually had fringe sewn on the sides of the seats and no top at all!
Even that high school production back in the 70's managed to come up with an actual surrey WITH THE FRINGE ON THE TOP!
I hate to beat up on director Bryan Blanks too much (he was also responsible for the uber-turkey "Xanadu" that opened Eastlight's season), but any director who would open with half an overture and close with a surrey with the fringe on the side clearly has no respect for or understanding of his material.
"Oklahoma!" runs through September 18th at the theater in Lakeview Park.
.
It offers one of the most beautiful scores ever, and who can listen to a line like "The wind is so busy it don't miss a tree" and deny the genius of the lyricist?
After nearly 70 years, this still should be on anyone's list of the five greatest American musicals of all time.
Due to the show's appeal and popularity, it has been frequently staged at all levels.
Indeed, one of my own first theater experiences was when the drama club at my high school put on the play. I loved it at once and immediately rushed out to buy the soundtrack.
That vinyl soundtrack was long ago worn out and replaced by CD.
In the intervening years, I have watched the movie version literally dozens of times (really!) and I have seen the stage version several times.
So it was with high anticipation of revisiting a favorite classic that I attended Peoria Players Theater's Friday night opening of the show's debut on PPT's stage.
I hoped beyond hope that they would give this beloved show its due. Instead I was given a decent but uneven and deeply flawed production that was badly directed.
In a much earlier post, I shared my pet peeve of people talking through the overture. In a musical, the overture is PART OF THE PLAY! And for this play in particular, the overture was one of the things that made it ground-breaking in 1943. It is a beautiful and lush intro that goes well over five minutes.
Well in the Player's production, the (recorded) overture abruptly ended only a couple of minutes in; before the rude folks even ended their chattering.
There was no fade-out. The music just stopped and the curtain went up. This was a very inauspicious beginning to say the least.
The lead roles of Curly and Laurey were played by Jordan Lehman and Sarah Mayo. Mr. Lehman has a good voice and good acting abilities. I blame his rote delivery of "Oh, What a Beautiful Mornin'" and "The Surrey With the Fringe on Top" on poor direction rather than any lack of talent on his part. He needed to love and respect the words he was singing.
Ms. Mayo has a beautiful voice and her performance rose above the lack of direction.
Of the entire production, the truly standout performances were Amanda Bishop as Ado Annie and Aaron Elwell as Will Parker. These actors gave superb performances, both separately and in duet.
Sally Hodge was great as Aunt Eller and Alex Larson was perfectly cast in the non-musical role of Ali Hakim.
While Derek Childs did a good job as Jud Fry, it was hard to take him seriously in some of the worst makeup I have ever seen.
Jud Fry is a volatile and cruel character, but he is not intended to be a Zombie as his makeup suggested.
One of the bright spots of this production was the "dream ballet"; it was well staged and well executed.
Some of the other dance numbers, however, were way too crowded and roughly done. I felt like I was watching an early dress rehearsal rather than opening night.
The last and perhaps greatest insult of the evening was the finale featuring a surrey with the fringe on the side.
Yes, the surrey actually had fringe sewn on the sides of the seats and no top at all!
Even that high school production back in the 70's managed to come up with an actual surrey WITH THE FRINGE ON THE TOP!
I hate to beat up on director Bryan Blanks too much (he was also responsible for the uber-turkey "Xanadu" that opened Eastlight's season), but any director who would open with half an overture and close with a surrey with the fringe on the side clearly has no respect for or understanding of his material.
"Oklahoma!" runs through September 18th at the theater in Lakeview Park.
.
Saturday, August 6, 2011
- Theater Review - Hairspray
Eastlight Theatre closes out its regular season with the regional premiere of "Hairspray".
...and a fine finale it is!
"Hairspray" is a brilliant musical; a funny and surprisingly sweet valentine from the twisted mind of auteur John Waters.
The show takes place in 1962 Baltimore at the dawn of the 60's civil rights era.
Based on his 1988 movie of the same title that featured the inimitable Divine, this stage vehicle was created as a high-energy production with one memorable musical number after another.
The show debuted on Broadway in 2002 and won eight Tony Awards, including Best Musical.
Although it took nearly a decade for the musical to hit a Central Illinois local theater stage, the Eastlight production makes it well worth the wait.
First off, recognition must be given to Steve Cordle's direction and Mark Baugher's flawless choreography.
Dancing is, of course, at the very heart of this show and though some numbers felt at times to be confined by the size of the stage, Baugher coaxes every bit of energy and skill from the sizable cast.
With such a large cast it is impractical to recognize everyone, but a few standout performances must be acknowledged.
The two roles that I consider critical to the success of this show are "hair-hopper" activist Tracy Turnblad and her waiting-to-blossom mother Edna.
Katy Hawley's Tracy is right on the mark. She brings a great voice, great moves, and an incredible energy to the lead role. Her rendition of the wonderful opener, "Good Morning, Baltimore", kicks the show off with a bang!
Likewise, Eric Ewan is absolutely perfect as Edna Turnblad. As an homage to the late Divine, this role is always played by a man.
Here Mr. Ewan is more Divine than John Travolta could ever hope to be!
His duet with veteran actor Dan Challacombe, "You're Timeless To Me" is the true show-stopper it was intended to be.
It had been awhile since I have seen Challacombe onstage and his return as Wilbur Turnblad (particularly in this number) was a welcome sight.
Another veteran actor, Chip Joyce, can always be counted on to deliver a great performance, and his Corny Collins is no disappointment.
Kelsey Burd is simply delightful as "checkerboard chick" Penny Pingleton and Brandon Chandler shines as her love interest, Seaweed.
Amanda Skinner as Motormouth Maybelle has two very important numbers. Although I felt she held back a bit on "Big, Blonde, and Beautiful", she totally nailed the hauntingly beautiful "I know Where I've Been".
While this song is ostensibly about the struggles of the civil rights movement, it is universally applicable about overcoming life's obstacles by tapping one's personal inner strength.
Jeremy Kelly is great as heart-throb Link Larkin, He shines in "It Takes Two" and he achieves the needed chemistry in his duets with Tracy.
Ingrid Weiman and Jessi Palkovic turn in good performances as Velma and Amber Von Tussle respectively.
There are two actors in multiple roles that really impress.
Sally Lawrence-Knapp plays Prudy Pingleton, The Gym Teacher, and The Prison Matron.
Joel Shoemaker plays Mr. Pinky, Mr. Spritzer, and The Principal.
Both of these actors take these 'minor' roles and turn them into stand-out performances that are integral to the play. Kudos!
The opening night performance contained some of those sound issues that drive me crazy. Some of the important lyrics were lost through these microphone cut-outs.
There were also some problems with the revolving stage, that sent out the wrong sets for the scene and exposed the backs of previous set pieces.
Hopefully these were opening night glitches that will be corrected in the remaining performances.
"Hairspray" is one of my personal favorites and I was thrilled to see this excellent opening performance with a nearly full house.
There are plenty of chances remaining to see this great show (or see it again!)
Performances continue tonight, tomorrow, and August 10, 11, 12, & 13 at the East Peoria Community High School stage.
Call the box office at 699-SHOW for your tickets.
"Hairspray" should not be missed!
.
...and a fine finale it is!
"Hairspray" is a brilliant musical; a funny and surprisingly sweet valentine from the twisted mind of auteur John Waters.
The show takes place in 1962 Baltimore at the dawn of the 60's civil rights era.
Based on his 1988 movie of the same title that featured the inimitable Divine, this stage vehicle was created as a high-energy production with one memorable musical number after another.
The show debuted on Broadway in 2002 and won eight Tony Awards, including Best Musical.
Although it took nearly a decade for the musical to hit a Central Illinois local theater stage, the Eastlight production makes it well worth the wait.
First off, recognition must be given to Steve Cordle's direction and Mark Baugher's flawless choreography.
Dancing is, of course, at the very heart of this show and though some numbers felt at times to be confined by the size of the stage, Baugher coaxes every bit of energy and skill from the sizable cast.
With such a large cast it is impractical to recognize everyone, but a few standout performances must be acknowledged.
The two roles that I consider critical to the success of this show are "hair-hopper" activist Tracy Turnblad and her waiting-to-blossom mother Edna.
Katy Hawley's Tracy is right on the mark. She brings a great voice, great moves, and an incredible energy to the lead role. Her rendition of the wonderful opener, "Good Morning, Baltimore", kicks the show off with a bang!
Likewise, Eric Ewan is absolutely perfect as Edna Turnblad. As an homage to the late Divine, this role is always played by a man.
Here Mr. Ewan is more Divine than John Travolta could ever hope to be!
His duet with veteran actor Dan Challacombe, "You're Timeless To Me" is the true show-stopper it was intended to be.
It had been awhile since I have seen Challacombe onstage and his return as Wilbur Turnblad (particularly in this number) was a welcome sight.
Another veteran actor, Chip Joyce, can always be counted on to deliver a great performance, and his Corny Collins is no disappointment.
Kelsey Burd is simply delightful as "checkerboard chick" Penny Pingleton and Brandon Chandler shines as her love interest, Seaweed.
Amanda Skinner as Motormouth Maybelle has two very important numbers. Although I felt she held back a bit on "Big, Blonde, and Beautiful", she totally nailed the hauntingly beautiful "I know Where I've Been".
While this song is ostensibly about the struggles of the civil rights movement, it is universally applicable about overcoming life's obstacles by tapping one's personal inner strength.
Jeremy Kelly is great as heart-throb Link Larkin, He shines in "It Takes Two" and he achieves the needed chemistry in his duets with Tracy.
Ingrid Weiman and Jessi Palkovic turn in good performances as Velma and Amber Von Tussle respectively.
There are two actors in multiple roles that really impress.
Sally Lawrence-Knapp plays Prudy Pingleton, The Gym Teacher, and The Prison Matron.
Joel Shoemaker plays Mr. Pinky, Mr. Spritzer, and The Principal.
Both of these actors take these 'minor' roles and turn them into stand-out performances that are integral to the play. Kudos!
The opening night performance contained some of those sound issues that drive me crazy. Some of the important lyrics were lost through these microphone cut-outs.
There were also some problems with the revolving stage, that sent out the wrong sets for the scene and exposed the backs of previous set pieces.
Hopefully these were opening night glitches that will be corrected in the remaining performances.
"Hairspray" is one of my personal favorites and I was thrilled to see this excellent opening performance with a nearly full house.
There are plenty of chances remaining to see this great show (or see it again!)
Performances continue tonight, tomorrow, and August 10, 11, 12, & 13 at the East Peoria Community High School stage.
Call the box office at 699-SHOW for your tickets.
"Hairspray" should not be missed!
.
Saturday, June 18, 2011
- Theater Review - Avenue Q
Eastlight Theatre continues their twentieth season with the Friday night opening of the regional premier of "Avenue Q".
"Avenue Q" is a delightful play, smart and funny. It is a parody (extension?) of Sesame Street.
Unlike the Muppets, these puppets are definitely not for children.
Rather, they are for those adults who grew up with Sesame Street and now have grown-up issues to face.
And like the denizens of its PBS inspiration, these puppets also have life lessons to relay.
The cast consists of three human characters and a gaggle of hand puppets. All the actors/puppeteers are clearly visible as they speak and sing for their characters.
The play requires talents beyond the actors' usual abilities to sing and dance. Here, they also must move and manipulate the puppets in such a manner that the actors soon become lost in their fabric alter-egos.
It is definitely a challenge for an amateur group to do well.
Damon Hackett, making his directorial debut here, delivers the most professional and exciting production on the Eastlight stage since "Rent".
All the actors/puppeteers execute their roles flawlessly, even when there are two actors controlling one puppet. In this situation, they must move in tandem around the stage and still maintain the believability of the puppet character.
Aside from the technical aspects of the performance, there are some beautiful voices that deliver the clever lyrics just as they were intended.
Assembled here are some of our favorite actors as well as some exciting new faces.
Jarod Hazzard and Kates Sitton shine as the sweet young lovers, Princeton and Kate Monster.
Chip Joyce and Adam Sitton are wonderful as roommates Nicky and Rod (think Bert and Ernie with a gayER edge). Both of these actors are pillars of the local theater community and they deliver the performances here that we have come to expect.
The role of Brian, the wannabe comic, is perfectly suited to Derek Pitzer's considerable talents.
And he certainly delivers the goods, as does Phil Raso as the porn-obsessed Trekkie Monster. Mr. Raso nails Trekkie's voice perfectly.
Chris Black and Kyle King are audience favorites as the Bad Idea Bears.
Dominique Reid makes her Eastlight debut as Gary Coleman (yes, THAT Gary Coleman!). I have seen Ms. Reid in some relatively minor roles in Bradley Theater productions, but her first post-graduation performance here is so impressive that I sure hope to see her again soon on local stages.
Some other 'new faces' are Kristen Williams as Lucy The Slut and Carmen McCarthy as Brian's Asian wife Christmas Eve. Ms. Williams brings the required over-the-top sexuality to the role of Lucy.
Ms. McCarthy manages to make the role of Christmas Eve pivotal to the action of the entire play. Her performance is nothing short of amazing.
I have seen this show professionally, here and in London, and I would put this cast and this direction up against those any day.
Yes, it's that good.
My one and only disappointment with this production is the ill-advised decision to censor the "simulated puppet sex" scene. Is it really any more risque than left-in lyrics such as "she sucks like a hoover", etc.??
If you are going to do theater, please do it as written and respect the intelligence of your audience enough to allow them to decide their own level of tolerance and maturity!
Having said that, this play is still one that must not be missed.
Seeing this performance of "Avenue Q" so soon after Peoria Players' "Drowsy Chaperone" makes me grateful to live in a community with such quality theater options.
The show runs through June 25th at Byron Moore Auditorium in East Peoria High School. Reserve your tickets today by calling 699-SHOW.
.
"Avenue Q" is a delightful play, smart and funny. It is a parody (extension?) of Sesame Street.
Unlike the Muppets, these puppets are definitely not for children.
Rather, they are for those adults who grew up with Sesame Street and now have grown-up issues to face.
And like the denizens of its PBS inspiration, these puppets also have life lessons to relay.
The cast consists of three human characters and a gaggle of hand puppets. All the actors/puppeteers are clearly visible as they speak and sing for their characters.
The play requires talents beyond the actors' usual abilities to sing and dance. Here, they also must move and manipulate the puppets in such a manner that the actors soon become lost in their fabric alter-egos.
It is definitely a challenge for an amateur group to do well.
Damon Hackett, making his directorial debut here, delivers the most professional and exciting production on the Eastlight stage since "Rent".
All the actors/puppeteers execute their roles flawlessly, even when there are two actors controlling one puppet. In this situation, they must move in tandem around the stage and still maintain the believability of the puppet character.
Aside from the technical aspects of the performance, there are some beautiful voices that deliver the clever lyrics just as they were intended.
Assembled here are some of our favorite actors as well as some exciting new faces.
Jarod Hazzard and Kates Sitton shine as the sweet young lovers, Princeton and Kate Monster.
Chip Joyce and Adam Sitton are wonderful as roommates Nicky and Rod (think Bert and Ernie with a gayER edge). Both of these actors are pillars of the local theater community and they deliver the performances here that we have come to expect.
The role of Brian, the wannabe comic, is perfectly suited to Derek Pitzer's considerable talents.
And he certainly delivers the goods, as does Phil Raso as the porn-obsessed Trekkie Monster. Mr. Raso nails Trekkie's voice perfectly.
Chris Black and Kyle King are audience favorites as the Bad Idea Bears.
Dominique Reid makes her Eastlight debut as Gary Coleman (yes, THAT Gary Coleman!). I have seen Ms. Reid in some relatively minor roles in Bradley Theater productions, but her first post-graduation performance here is so impressive that I sure hope to see her again soon on local stages.
Some other 'new faces' are Kristen Williams as Lucy The Slut and Carmen McCarthy as Brian's Asian wife Christmas Eve. Ms. Williams brings the required over-the-top sexuality to the role of Lucy.
Ms. McCarthy manages to make the role of Christmas Eve pivotal to the action of the entire play. Her performance is nothing short of amazing.
I have seen this show professionally, here and in London, and I would put this cast and this direction up against those any day.
Yes, it's that good.
My one and only disappointment with this production is the ill-advised decision to censor the "simulated puppet sex" scene. Is it really any more risque than left-in lyrics such as "she sucks like a hoover", etc.??
If you are going to do theater, please do it as written and respect the intelligence of your audience enough to allow them to decide their own level of tolerance and maturity!
Having said that, this play is still one that must not be missed.
Seeing this performance of "Avenue Q" so soon after Peoria Players' "Drowsy Chaperone" makes me grateful to live in a community with such quality theater options.
The show runs through June 25th at Byron Moore Auditorium in East Peoria High School. Reserve your tickets today by calling 699-SHOW.
.
Friday, May 6, 2011
- Theater Review - The Drowsy Chaperone
Peoria Players Theater closes out their regular 2010-2011 season with the regional premiere of "The Drowsy Chaperone".
This play within a play is one of my current favorites. It is a brilliant musical for people who love musicals.
The entire play takes place in the apartment of the nameless Man In Chair. This is a character with whom it is easy for me to identify, having spent many nights in my life remedying "the blues" by losing myself in a Broadway cast album.
I am fortunate to have seen this show professionally, once with Georgia Engel, who originated the role of Mrs. Tottendale on Broadway.
Having such a fondness for the show, I was somewhat nervous to see it undertaken by a local amateur group.
Well, I am pleased to say that not only does Peoria Players rise to the occasion, they knock this one completely out of the park!
Under Mike Ream's flawless direction, the cast delivers a wonderful and memorable evening that will take you back to the glorious days of the Busby Berkeley-style musicals.
As the curtain rises we meet Man In Chair, who is feeling somewhat blue and decides to spend the evening listening to one of his favorite cast albums, a 1920's musical called "The Drowsy Chaperone".
As he listens, the musical comes alive in his living room.
This play within the play is about a wedding hosted at the home of Mrs. Tottendale, a ditzy and eccentric woman with her servant Underling always in tow.
The bride is Broadway star, Janet Van De Graaf, who is at the peak of her career yet ready to give it all up to marry Robert Martin, the wealthy son of an oil baron.
Janet's producer is on hand to try to stop the wedding and keep his revenue-producing star.
The extensive cast also includes a pair of mobsters posing as pastry chefs, a shrill chorus girl who wants to replace Janet, best man George, Latin Lothario Adolfo, and of course the chaperone accompanying the bride.
The Chaperone loves her drink, even though it tends to make her "drowsy".
The plot soon becomes complicated and involved, moved along by some of the most clever and delightful songs you are likely to hear.
The cast here is uniformly good.
Nate Downs is quite simply perfect as Man In Chair.
Molly Smith wows as Janet. She sings, dances. juggles, does cartwheels, and generally "shows off" in this role. That signature number is worth the ticket price in itself.
Not to be out done, Jacob Hazzard as her groom, also sings, dances, and even roller skates blindfolded!
Barb Couri perfectly captures the essence of the title character. Her rendition of "As We Stumble Along" is wonderful.
Also delightful is Jim Willard as Underling. His deadpan performance is a comedic classic.
Steve Bartolotti wrings every bit of comedy out of his larger than life portrayal of Aldolpho. His performance is as good as I have seen in this role.
Katie McLuckie as Kitty and Matt Stubbs and Robert Pugh as the Tall Brothers are all great, as is Dave Montague as George.
Kudos to Mr.Reams and the entire cast for ending their season with such a bang.
I will go as far as to say that "The Drowsy Chaperone" is the best show that I have seen on the Players' stage in ...well, ever.
In the end, this show "does what a musical is supposed to do. It takes you to another world and it gives you a little tune to carry in your head when you're feeling blue..."
The show runs this weekend and next (through May 15th) at the theater in Lakeview Park.
DO NOT MISS THIS!
.
This play within a play is one of my current favorites. It is a brilliant musical for people who love musicals.
The entire play takes place in the apartment of the nameless Man In Chair. This is a character with whom it is easy for me to identify, having spent many nights in my life remedying "the blues" by losing myself in a Broadway cast album.
I am fortunate to have seen this show professionally, once with Georgia Engel, who originated the role of Mrs. Tottendale on Broadway.
Having such a fondness for the show, I was somewhat nervous to see it undertaken by a local amateur group.
Well, I am pleased to say that not only does Peoria Players rise to the occasion, they knock this one completely out of the park!
Under Mike Ream's flawless direction, the cast delivers a wonderful and memorable evening that will take you back to the glorious days of the Busby Berkeley-style musicals.
As the curtain rises we meet Man In Chair, who is feeling somewhat blue and decides to spend the evening listening to one of his favorite cast albums, a 1920's musical called "The Drowsy Chaperone".
As he listens, the musical comes alive in his living room.
This play within the play is about a wedding hosted at the home of Mrs. Tottendale, a ditzy and eccentric woman with her servant Underling always in tow.
The bride is Broadway star, Janet Van De Graaf, who is at the peak of her career yet ready to give it all up to marry Robert Martin, the wealthy son of an oil baron.
Janet's producer is on hand to try to stop the wedding and keep his revenue-producing star.
The extensive cast also includes a pair of mobsters posing as pastry chefs, a shrill chorus girl who wants to replace Janet, best man George, Latin Lothario Adolfo, and of course the chaperone accompanying the bride.
The Chaperone loves her drink, even though it tends to make her "drowsy".
The plot soon becomes complicated and involved, moved along by some of the most clever and delightful songs you are likely to hear.
The cast here is uniformly good.
Nate Downs is quite simply perfect as Man In Chair.
Molly Smith wows as Janet. She sings, dances. juggles, does cartwheels, and generally "shows off" in this role. That signature number is worth the ticket price in itself.
Not to be out done, Jacob Hazzard as her groom, also sings, dances, and even roller skates blindfolded!
Barb Couri perfectly captures the essence of the title character. Her rendition of "As We Stumble Along" is wonderful.
Also delightful is Jim Willard as Underling. His deadpan performance is a comedic classic.
Steve Bartolotti wrings every bit of comedy out of his larger than life portrayal of Aldolpho. His performance is as good as I have seen in this role.
Katie McLuckie as Kitty and Matt Stubbs and Robert Pugh as the Tall Brothers are all great, as is Dave Montague as George.
Kudos to Mr.Reams and the entire cast for ending their season with such a bang.
I will go as far as to say that "The Drowsy Chaperone" is the best show that I have seen on the Players' stage in ...well, ever.
In the end, this show "does what a musical is supposed to do. It takes you to another world and it gives you a little tune to carry in your head when you're feeling blue..."
The show runs this weekend and next (through May 15th) at the theater in Lakeview Park.
DO NOT MISS THIS!
.
Friday, April 29, 2011
- Theater Review - America Live!
Bradley University Theatre closes their 2011 season with "America Live!"
The production is a unique and interesting multi-media event.
Rooted in America's current obsession with reality television, the show is audience-interactive and live-streamed on the internet during the entire production.
The premise is that we are on the set of a live TV show. Theater patrons may choose any level of involvement in the interactive aspect of the show.
They can opt to simply watch the show as passive viewers.
They can register their cell phones for voting.
Or they can choose to participate directly as members of the cast, members of security, part of the technical crew, or even the janitorial staff.
Indeed, it soon becomes unclear just who is an actor and who is not; what is scripted and what is ad lib.
And obviously that is the point here. Written and directed by Slane Scholar in Residence Jeff Wirth, this play intentionally blurs the lines between theater and reality, between stage and audience.
The result is an interesting theater experience that is definitely out of the norm. While I was expecting a more profound statement on voting and politics in America, I was not disappointed to receive instead a funny and high-energy comment on the "reality" of America and American television.
Some of the funniest bits are the pre-recorded television commercials.
One of the commercials includes a music video that is professional quality and simply delightful.
If you are looking for a show that is funny, smart, and truly innovative, then this is one you should not miss.
The show is produced in collaboration with Bradley University's Department of Interactive Media and runs through May 1st at the Hartmann Center for the Performing Arts.
.
The production is a unique and interesting multi-media event.
Rooted in America's current obsession with reality television, the show is audience-interactive and live-streamed on the internet during the entire production.
The premise is that we are on the set of a live TV show. Theater patrons may choose any level of involvement in the interactive aspect of the show.
They can opt to simply watch the show as passive viewers.
They can register their cell phones for voting.
Or they can choose to participate directly as members of the cast, members of security, part of the technical crew, or even the janitorial staff.
Indeed, it soon becomes unclear just who is an actor and who is not; what is scripted and what is ad lib.
And obviously that is the point here. Written and directed by Slane Scholar in Residence Jeff Wirth, this play intentionally blurs the lines between theater and reality, between stage and audience.
The result is an interesting theater experience that is definitely out of the norm. While I was expecting a more profound statement on voting and politics in America, I was not disappointed to receive instead a funny and high-energy comment on the "reality" of America and American television.
Some of the funniest bits are the pre-recorded television commercials.
One of the commercials includes a music video that is professional quality and simply delightful.
If you are looking for a show that is funny, smart, and truly innovative, then this is one you should not miss.
The show is produced in collaboration with Bradley University's Department of Interactive Media and runs through May 1st at the Hartmann Center for the Performing Arts.
.
Saturday, April 9, 2011
- Theater Review - Xanadu
Eastlight Theatre opened their 20th season on Friday night with the regional premiere of "Xanadu".
I have made the statement here before that I feel Eastlight sets the bar for local theater. Their productions have always been professional and well done, and I always anticipate their short season of three plays.
However, I am sad to say that all the gods on Olympus could not make this turkey sing.
There have been a lot of successful musicals made from films that were not necessarily successful. Examples of this include "Hairspray" (coming later in Eastlight's season), "The Producers", "Spamalot", etc.
The difference is that these films, while not blockbusters, were smart and funny gems that achieved some level of cult devotion.
"Xanadu", on the other hand, was a truly bad movie that is not much improved by its transfer to the stage.
Having said this, there were some excellent performances that might have saved this production, if not for technical issues.
First and foremost is Jeremy Kelly.
Mr. Kelly previously lit up the Eastlight stage with his wonderful performances in last season's "Altar Boyz" and "All Shook Up".
Here, as Sonny Malone, he does everything an actor can do for the role. His singing and dancing are truly excellent.
Ayana Pankey and Erin Miller shine as Melpomene and Calliope respectively. Ms. Miller in particular was an audience favorite as she captured all the comedic elements of her role.
Julie Boesch brings the required sweetness to her role as Kira/Clio. (and she is not too bad on roller skates!)
Carl Williams as Danny McGuire/Zeus has a fine voice, although his acting performance can only be described as wooden.
With an exception or two, the choreography was sub-standard, as is the direction.
Part of the problem, and this is particularly true of the closing title number, is that the performers require an energetic response from the audience.
Sadly, this was the sparsest crowd I have ever seen at Eastlight. The older crowd did not help the cast deliver the knockout finale that could have been achieved.
And now about those technical issues.
I have often criticized the poor sound quality at Peoria Players. This has never been a problem at Eastlight.
Until last night.
While the male lead came through loud and clear, the other players were at times unintelligible. The women particularly were muffled and unclear during the entire first act.
What happened, Eastlight?
Did you get a new sound system? If so, please try to get the old one back.
Did you get new mics? If so, please try to get the old ones back.
Did you get new sound technicians? If so, please try to get the old ones back.
Is this a classic case of fixing something that wasn't broken?
I can honestly say this is one of the very few times I have been disappointed with an Eastlight performance.
Let's hope that it can be chalked up to opening night jitters and technical snafus that will be improved for the rest of the run.
"Xanadu" continues April 9th, 10th, and the 13th through the 16th at East Peoria Community High School Auditorium. Tickets can be reserved through the box office at 699-SHOW.
.
I have made the statement here before that I feel Eastlight sets the bar for local theater. Their productions have always been professional and well done, and I always anticipate their short season of three plays.
However, I am sad to say that all the gods on Olympus could not make this turkey sing.
There have been a lot of successful musicals made from films that were not necessarily successful. Examples of this include "Hairspray" (coming later in Eastlight's season), "The Producers", "Spamalot", etc.
The difference is that these films, while not blockbusters, were smart and funny gems that achieved some level of cult devotion.
"Xanadu", on the other hand, was a truly bad movie that is not much improved by its transfer to the stage.
Having said this, there were some excellent performances that might have saved this production, if not for technical issues.
First and foremost is Jeremy Kelly.
Mr. Kelly previously lit up the Eastlight stage with his wonderful performances in last season's "Altar Boyz" and "All Shook Up".
Here, as Sonny Malone, he does everything an actor can do for the role. His singing and dancing are truly excellent.
Ayana Pankey and Erin Miller shine as Melpomene and Calliope respectively. Ms. Miller in particular was an audience favorite as she captured all the comedic elements of her role.
Julie Boesch brings the required sweetness to her role as Kira/Clio. (and she is not too bad on roller skates!)
Carl Williams as Danny McGuire/Zeus has a fine voice, although his acting performance can only be described as wooden.
With an exception or two, the choreography was sub-standard, as is the direction.
Part of the problem, and this is particularly true of the closing title number, is that the performers require an energetic response from the audience.
Sadly, this was the sparsest crowd I have ever seen at Eastlight. The older crowd did not help the cast deliver the knockout finale that could have been achieved.
And now about those technical issues.
I have often criticized the poor sound quality at Peoria Players. This has never been a problem at Eastlight.
Until last night.
While the male lead came through loud and clear, the other players were at times unintelligible. The women particularly were muffled and unclear during the entire first act.
What happened, Eastlight?
Did you get a new sound system? If so, please try to get the old one back.
Did you get new mics? If so, please try to get the old ones back.
Did you get new sound technicians? If so, please try to get the old ones back.
Is this a classic case of fixing something that wasn't broken?
I can honestly say this is one of the very few times I have been disappointed with an Eastlight performance.
Let's hope that it can be chalked up to opening night jitters and technical snafus that will be improved for the rest of the run.
"Xanadu" continues April 9th, 10th, and the 13th through the 16th at East Peoria Community High School Auditorium. Tickets can be reserved through the box office at 699-SHOW.
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Thursday, April 7, 2011
Civil War Ghosts & Legends
Prairie Folklore Theatre is hosting a special performance of "Civil War Ghosts and Legends" to commemorate the 150th anniversary of the first shots fired on Fort Sumter.
This is an original musical program featuring Barry Cloyd and Brian "Fox" Ellis.
True stories and legends are woven with traditional songs and poetry from this most un-Civil War.
Join us as we travel back in time to the bloody battlefields, prison camps and haunted graveyards of America’s deadliest conflict.
Horror stories by Ambrose Bierce and songs by Stephen Foster bring to life this chapter in history.
The show features storyteller and historian Brian “Fox” Ellis with folksinger, and songwriter, Barry Cloyd.
In the persona of Mathias Stritt, Fox puts the grand arc of the war into perspective.
Cloyd portrays Joseph Henry Munroe, the Drummer Boy of Shiloh who, later in life, taught music at Peoria High and shares his love for the songs of the era.
Together, these two old ghosts, Stritt and Munroe, weave true stories with original music; their first hand knowledge of the war with traditional folk tunes.
The single performance will be April 12th, at 7:00pm at the GAR Hall at the corner of Madison and Hamilton in Downtown Peoria.
Tickets are only $10 for adult s and $5 for children. Please call 309-689-8000 for reservations.
.
This is an original musical program featuring Barry Cloyd and Brian "Fox" Ellis.
True stories and legends are woven with traditional songs and poetry from this most un-Civil War.
Join us as we travel back in time to the bloody battlefields, prison camps and haunted graveyards of America’s deadliest conflict.
Horror stories by Ambrose Bierce and songs by Stephen Foster bring to life this chapter in history.
The show features storyteller and historian Brian “Fox” Ellis with folksinger, and songwriter, Barry Cloyd.
In the persona of Mathias Stritt, Fox puts the grand arc of the war into perspective.
Cloyd portrays Joseph Henry Munroe, the Drummer Boy of Shiloh who, later in life, taught music at Peoria High and shares his love for the songs of the era.
Together, these two old ghosts, Stritt and Munroe, weave true stories with original music; their first hand knowledge of the war with traditional folk tunes.
The single performance will be April 12th, at 7:00pm at the GAR Hall at the corner of Madison and Hamilton in Downtown Peoria.
Tickets are only $10 for adult s and $5 for children. Please call 309-689-8000 for reservations.
.
Sunday, February 27, 2011
- Theater Review - Bus Stop
On Saturday night, I joined a small group of people at the Peoria Civic Center for the Montana Repertory Theatre's presentation of "Bus Stop".
I say "small group" because it was one of the sparsest audiences I have seen at a Civic Center Theater production.
What a shame that so few people were on hand to enjoy this exciting event.
Peoria was given a rare treat in this visit from the prestigious Montana Rep and their excellent production of this William Inge classic.
While many people are familiar with the 1956 film version starring Marilyn Monroe and Don Murray, the stage version is much cleaner and succinct.
The entire play takes place in a diner west of Kansas City in March of 1955. The diner serves as a bus stop on bus routes to and from the American west. A snowstorm has closed the highway and stranded the bus and its passengers at the diner for most of a night.
The action explores the various relationships between the eight characters.
There is Bo, the immature, inexperienced cowboy who is taking cabaret singer Cherie (literally by force) to his ranch in Montana to be his wife.
There is the married owner of the diner, Grace, who is beginning a relationship with the bus driver Carl.
Another of the passengers is Professor Lyman, a drunken former teacher with a shady past involving underage girls. He begins a flirtation with the young, naive waitress Elma.
Virgil is an older cowboy and father figure to Bo. He is ultimately and literally left out in the cold at play's end.
Overseeing the group is Sheriff Will. His is the voice of morality, reason, and conscience.
All of the actors did a splendid job and the diner set was nothing short of perfect.
Thanks to the Montana Repertory Theatre for this wonderful production, and thanks to the Peoria Civic Center for taking a chance on a single night's engagement.
.
I say "small group" because it was one of the sparsest audiences I have seen at a Civic Center Theater production.
What a shame that so few people were on hand to enjoy this exciting event.
Peoria was given a rare treat in this visit from the prestigious Montana Rep and their excellent production of this William Inge classic.
While many people are familiar with the 1956 film version starring Marilyn Monroe and Don Murray, the stage version is much cleaner and succinct.
The entire play takes place in a diner west of Kansas City in March of 1955. The diner serves as a bus stop on bus routes to and from the American west. A snowstorm has closed the highway and stranded the bus and its passengers at the diner for most of a night.
The action explores the various relationships between the eight characters.
There is Bo, the immature, inexperienced cowboy who is taking cabaret singer Cherie (literally by force) to his ranch in Montana to be his wife.
There is the married owner of the diner, Grace, who is beginning a relationship with the bus driver Carl.
Another of the passengers is Professor Lyman, a drunken former teacher with a shady past involving underage girls. He begins a flirtation with the young, naive waitress Elma.
Virgil is an older cowboy and father figure to Bo. He is ultimately and literally left out in the cold at play's end.
Overseeing the group is Sheriff Will. His is the voice of morality, reason, and conscience.
All of the actors did a splendid job and the diner set was nothing short of perfect.
Thanks to the Montana Repertory Theatre for this wonderful production, and thanks to the Peoria Civic Center for taking a chance on a single night's engagement.
.
Saturday, February 26, 2011
- Theater Review - The Learned Ladies
For the latest offering of the 2011 season, Bradley University Theater presents "The Learned Ladies".
Pulling off a Moliere comedy can be a tall order for a young troupe of actors. It is no easy feat to perform a 339 year old French farce, translated into English and delivered in rapid-fire rhyming verse.
And yet true to our expectations, the Bradley U students manage to make it work.
At the center of the story are two young lovers, Henriette and Clitandre. Their plans to marry are soon thwarted by Henriette's sister, Armande, her mother Philaminte, and her Aunt Belise.
These three women are the "learned ladies", who value art and culture above all else. They worship the hackneyed works of their protege, Trissotin.
Trissotin is a poet of dubious talent and an opportunist with his eyes on the family fortune when the Learned Ladies decide that he should be the chosen mate for Henriette.
Henriette's father, Chrysale, and her Uncle Ariste both wish for Henriette to follow her heart into a union with Clitandre. Chrysale, however, is a weak and hen-pecked man who allows his wife to run the family.
What follows is a series of outrageous and funny events that culminate in a surprise twist where all is resolved and made clear.
As Trissotin, BU veteran Andrew Kuhlman is in the type of role that he does well and that he obviously loves - one that is loud, over the top, and larger than life.
The Learned Ladies are played with zeal by Sarah Tilford, Janice Gerlach, and Chloe Dzielak. Their facial expressions and effusiveness are perfectly suited for farce.
Ms. Tilford's Belise is a particular delight. The older maiden aunt remains convinced in her mind that nearly every young man must be secretly in love with her.
Julian Stroup gets a lot of mileage out of his role as Chrysale, the meek husband who finally finds his way to head of his household. Ross Cochran also is good as his brother Ariste, who becomes the hero of the tale.
Laura Schermer and Brian Zinda are convincingly sweet as the young lovers.
The Bradley Theater group always excels at set construction and this is no exception. The Baroque French drawing room is impressive and functional to the execution of the play. Well done.
As I said, this is a difficult play that is well performed here by the Bradley troupe.
If one overlooks the underlying themes of anti-intellectualism and female subservience, the play can still be funny and enjoyable after nearly three and a half centuries.
It continues Saturday, February 26th through Sunday, March 6th at the Hartmann Center for the Performing Arts on the Bradley University campus.
.
Pulling off a Moliere comedy can be a tall order for a young troupe of actors. It is no easy feat to perform a 339 year old French farce, translated into English and delivered in rapid-fire rhyming verse.
And yet true to our expectations, the Bradley U students manage to make it work.
At the center of the story are two young lovers, Henriette and Clitandre. Their plans to marry are soon thwarted by Henriette's sister, Armande, her mother Philaminte, and her Aunt Belise.
These three women are the "learned ladies", who value art and culture above all else. They worship the hackneyed works of their protege, Trissotin.
Trissotin is a poet of dubious talent and an opportunist with his eyes on the family fortune when the Learned Ladies decide that he should be the chosen mate for Henriette.
Henriette's father, Chrysale, and her Uncle Ariste both wish for Henriette to follow her heart into a union with Clitandre. Chrysale, however, is a weak and hen-pecked man who allows his wife to run the family.
What follows is a series of outrageous and funny events that culminate in a surprise twist where all is resolved and made clear.
As Trissotin, BU veteran Andrew Kuhlman is in the type of role that he does well and that he obviously loves - one that is loud, over the top, and larger than life.
The Learned Ladies are played with zeal by Sarah Tilford, Janice Gerlach, and Chloe Dzielak. Their facial expressions and effusiveness are perfectly suited for farce.
Ms. Tilford's Belise is a particular delight. The older maiden aunt remains convinced in her mind that nearly every young man must be secretly in love with her.
Julian Stroup gets a lot of mileage out of his role as Chrysale, the meek husband who finally finds his way to head of his household. Ross Cochran also is good as his brother Ariste, who becomes the hero of the tale.
Laura Schermer and Brian Zinda are convincingly sweet as the young lovers.
The Bradley Theater group always excels at set construction and this is no exception. The Baroque French drawing room is impressive and functional to the execution of the play. Well done.
As I said, this is a difficult play that is well performed here by the Bradley troupe.
If one overlooks the underlying themes of anti-intellectualism and female subservience, the play can still be funny and enjoyable after nearly three and a half centuries.
It continues Saturday, February 26th through Sunday, March 6th at the Hartmann Center for the Performing Arts on the Bradley University campus.
.
Saturday, February 19, 2011
- Theater Review - Angels in America: Millennium Approaches
The Corn Stock Winter Playhouse opened its latest presentation on Friday night:
"Angels in America: Millennium Approaches".
I must admit that when Corn Stock first announced their winter season, I was surprised and apprehensive to see this play in the line-up.
It is such an epic and complex piece that it is an ambitious undertaking for any amateur theater group and especially for the intimate confines of the Winter Playhouse's in-the-round venue.
The Corn Stock players not only rose to the challenge, they have presented here one of the finest collections of ensemble acting seen locally since Peoria Players' "Diary of Anne Frank".
This Pulitzer Prize winning first half of Tony Kushner's epic drama is set in Ronald Reagan's America of the mid eighties. It uses politics and the AIDS holocaust to explore issues of identity, inner struggle, morality, and spirituality.
Although the face of the AIDS epidemic has changed drastically in the last twenty-five years, this play remains extremely relevant in today's America of increased political divisiveness between the left and the right.
At the heart of the tale is Prior Walter, a young man recently diagnosed with AIDS and in a relationship with Louis Ironson, a young Jewish man confronting his own issues of commitment and loyalty.
Prior's life is paralleled with that of Joe Pitt, a young Mormon lawyer struggling with his sexual identity. His new young wife, Harper, lives in her own Valium fueled fantasy world.
Joe is being courted by Roy Cohn to come to Washington as a part of the Reagan Justice Department. The Cohn character (based on the real person) is a ruthless closeted man also recently diagnosed with AIDS. For Cohn the ultimate aphrodisiac truly is power and the wielding of it to control others.
He considers his life's greatest accomplishment to be securing the death penalty for Ethel Rosenberg, using his influence in an illicit manner to accomplish it.
The play calls for eight actors to play multiple roles, some intentionally cross-gendered. These eight actors, without exception, deliver superb performances.
Jacob Uhlman is perfectly cast as Prior Walter. His physical appearance coupled with his emotional delivery bring the character to life. He captures the correct mix of camp and pathos.
The character of Roy Cohn is one of the nastiest and most repulsive villains in modern drama. Clark Rians sinks his teeth into this role like a pit bull and shakes every bit of intensity and meanness out of it.
Landen Zumwalt is right on the money in his performance as the extremely conflicted Joe Pitt, walking the emotional tightrope between his Mormon upbringing and his inner desires.
Emily Crusen is excellent as the drug-addled Harper Pitt, She shines particularly brightly in the Antarctica fantasy scene.
Rebecca Frankel Clifton shows a terrific range in playing two male and two female characters. She is Hannah Pitt (Joes' mother), Henry, Rabbi Chemelwitz, and Ethel Rosenberg. She brings believability to each of these varied roles, all amazing performances.
Will Loftus personifies Jewish Guilt as Louis Ironson. His character is the link between the parallel narratives.
Last year, Mr. Loftus impressed with his comedic performance as William Barfee in EastLight's "25th Annual Putnam County Spelling Bee". He shows us here that he does drama equally well.
Eric Gore (Belize, and Mr. Lies) and Chloe Whiting Stevens (Nurse Emily, Sister Chapter, Homeless Woman, and The Angel) round out this excellent cast with their own great individual performances.
Although the dragging in and out of large set pieces is a bit distracting, the play is for the most part well executed from a technical standpoint.
The story is enhanced through the projection of video images onto two large screens. The images contain snapshots of America during the 1980s.
In larger theatrical performances, the Angel makes her appearance in a most dramatic fashion, bursting through the wall or ceiling.
The Angel's appearance here is perfectly orchestrated in consideration of the smallness of the space.
In addition to stage management and technical staff, congratulations must be given to Director Dani Keil for this first rate production.
It was announced that the second half of the play, "Angels in America: Perestroika" will be performed in the Winter Playhouse's 2011-2012 season. I can only hope that the same director and cast will return for that effort.
This first half of the play runs a full three and a half hours, excluding two intermissions totalling twenty minutes. That may seem like a lengthy evening, but believe me, you will not want to see the end of a show this good.
Performances continue tonight, tomorrow, and through next Saturday. Tickets are only $10 for adults, $7 for students and may be purchased at the door or by calling the box office at 676-2196.
.
"Angels in America: Millennium Approaches".
I must admit that when Corn Stock first announced their winter season, I was surprised and apprehensive to see this play in the line-up.
It is such an epic and complex piece that it is an ambitious undertaking for any amateur theater group and especially for the intimate confines of the Winter Playhouse's in-the-round venue.
The Corn Stock players not only rose to the challenge, they have presented here one of the finest collections of ensemble acting seen locally since Peoria Players' "Diary of Anne Frank".
This Pulitzer Prize winning first half of Tony Kushner's epic drama is set in Ronald Reagan's America of the mid eighties. It uses politics and the AIDS holocaust to explore issues of identity, inner struggle, morality, and spirituality.
Although the face of the AIDS epidemic has changed drastically in the last twenty-five years, this play remains extremely relevant in today's America of increased political divisiveness between the left and the right.
At the heart of the tale is Prior Walter, a young man recently diagnosed with AIDS and in a relationship with Louis Ironson, a young Jewish man confronting his own issues of commitment and loyalty.
Prior's life is paralleled with that of Joe Pitt, a young Mormon lawyer struggling with his sexual identity. His new young wife, Harper, lives in her own Valium fueled fantasy world.
Joe is being courted by Roy Cohn to come to Washington as a part of the Reagan Justice Department. The Cohn character (based on the real person) is a ruthless closeted man also recently diagnosed with AIDS. For Cohn the ultimate aphrodisiac truly is power and the wielding of it to control others.
He considers his life's greatest accomplishment to be securing the death penalty for Ethel Rosenberg, using his influence in an illicit manner to accomplish it.
The play calls for eight actors to play multiple roles, some intentionally cross-gendered. These eight actors, without exception, deliver superb performances.
Jacob Uhlman is perfectly cast as Prior Walter. His physical appearance coupled with his emotional delivery bring the character to life. He captures the correct mix of camp and pathos.
The character of Roy Cohn is one of the nastiest and most repulsive villains in modern drama. Clark Rians sinks his teeth into this role like a pit bull and shakes every bit of intensity and meanness out of it.
Landen Zumwalt is right on the money in his performance as the extremely conflicted Joe Pitt, walking the emotional tightrope between his Mormon upbringing and his inner desires.
Emily Crusen is excellent as the drug-addled Harper Pitt, She shines particularly brightly in the Antarctica fantasy scene.
Rebecca Frankel Clifton shows a terrific range in playing two male and two female characters. She is Hannah Pitt (Joes' mother), Henry, Rabbi Chemelwitz, and Ethel Rosenberg. She brings believability to each of these varied roles, all amazing performances.
Will Loftus personifies Jewish Guilt as Louis Ironson. His character is the link between the parallel narratives.
Last year, Mr. Loftus impressed with his comedic performance as William Barfee in EastLight's "25th Annual Putnam County Spelling Bee". He shows us here that he does drama equally well.
Eric Gore (Belize, and Mr. Lies) and Chloe Whiting Stevens (Nurse Emily, Sister Chapter, Homeless Woman, and The Angel) round out this excellent cast with their own great individual performances.
Although the dragging in and out of large set pieces is a bit distracting, the play is for the most part well executed from a technical standpoint.
The story is enhanced through the projection of video images onto two large screens. The images contain snapshots of America during the 1980s.
In larger theatrical performances, the Angel makes her appearance in a most dramatic fashion, bursting through the wall or ceiling.
The Angel's appearance here is perfectly orchestrated in consideration of the smallness of the space.
In addition to stage management and technical staff, congratulations must be given to Director Dani Keil for this first rate production.
It was announced that the second half of the play, "Angels in America: Perestroika" will be performed in the Winter Playhouse's 2011-2012 season. I can only hope that the same director and cast will return for that effort.
This first half of the play runs a full three and a half hours, excluding two intermissions totalling twenty minutes. That may seem like a lengthy evening, but believe me, you will not want to see the end of a show this good.
Performances continue tonight, tomorrow, and through next Saturday. Tickets are only $10 for adults, $7 for students and may be purchased at the door or by calling the box office at 676-2196.
.
Saturday, February 5, 2011
- Theater Review - The Wizard of Oz
Peoria Players continued their season with the Friday night opening of "The Wizard of Oz".
The show is an ambitious extravaganza that provides a delightful, if only slightly uneven, night of theater enjoyment.
This production closely follows the 1939 movie version of the Frank Baum classic, with a few notable exceptions. Most exciting of these is the inclusion of the lost Jitterbug number.
Oz fans are well acquainted with the story of this scene. Although it is referred to by the witch in the final movie, the scene was deleted and all film destroyed (however, many fans still fantasize about prints being discovered someday in a Hollywood vault!).
In this number, the Wicked Witch sets her Jitterbug upon the four travellers. The bite of the Jitterbug results in uncontrollable dancing, and the choreography in this number is absolutely wonderful.
The dancing in this one number is well worth the price of admission.
With a cast featuring literally dozens of actors, there are several standout performances.
Possessing a lovely voice and an impressive stage presence, Clare Zell is superb as Dorothy Gale.
Katie McLuckie's Glinda is right on the mark.
Barb Couri, Mary Sierra, and Carol Urish are delightful as the iconic apple trees.
Roger Roemer shines as the palace guard.
Bryan Blanks is great at the Tin Man, although with a bad mic, his performance was marred by Players' perennial sound problems.
Julie Boesch does a great turn as the Witch.
Charles Killen's Lion is appropriately endearing.
Rose Blume (great name!) and Andrew Harlan stand out among Munchkins as the Barrister and the Coroner respectively.
The very best performance of the night was turned in by Josh Hammond as the Scarecrow. He perfectly nailed the difficult dance moves that were epitomized by Ray Bolger in the film version. He captured his character perfectly, and with a great voice to boot, he stole the show.
One of the problem numbers was "Ding Dong The Witch is Dead". Although the Winkies did a fine job in their "March of the Winkies", this signature number appeared totally unrehearsed.
Another weak link in the show was the setting. The resolving center set was very impressive, but the Munchkin village was uninspired and a couple of the set pieces crossed from amateurish to downright cheesy.
An example is Professor Marvel's wagon and more importantly, Glinda's bubble.
The bubble appeared to be covered by something like screen wire that didn't quite come together in the middle. A simple illuminated sphere would have been much more effective.
On a more positive staging note, the use of video projection on the theater ceiling for the tornado and for the encounter with the Wizard was inspired and it added a high-tech update to this familiar story.
With a couple small glitches aside, this is a truly epic production, and one that your children and grandchildren will love.
And so will you.
Kudos to Mary Ellen Ulrich for her direction and to Aliesha Graves for her excellent choreography!
The show runs through next weekend at the theater in Lakeview Park.
.
The show is an ambitious extravaganza that provides a delightful, if only slightly uneven, night of theater enjoyment.
This production closely follows the 1939 movie version of the Frank Baum classic, with a few notable exceptions. Most exciting of these is the inclusion of the lost Jitterbug number.
Oz fans are well acquainted with the story of this scene. Although it is referred to by the witch in the final movie, the scene was deleted and all film destroyed (however, many fans still fantasize about prints being discovered someday in a Hollywood vault!).
In this number, the Wicked Witch sets her Jitterbug upon the four travellers. The bite of the Jitterbug results in uncontrollable dancing, and the choreography in this number is absolutely wonderful.
The dancing in this one number is well worth the price of admission.
With a cast featuring literally dozens of actors, there are several standout performances.
Possessing a lovely voice and an impressive stage presence, Clare Zell is superb as Dorothy Gale.
Katie McLuckie's Glinda is right on the mark.
Barb Couri, Mary Sierra, and Carol Urish are delightful as the iconic apple trees.
Roger Roemer shines as the palace guard.
Bryan Blanks is great at the Tin Man, although with a bad mic, his performance was marred by Players' perennial sound problems.
Julie Boesch does a great turn as the Witch.
Charles Killen's Lion is appropriately endearing.
Rose Blume (great name!) and Andrew Harlan stand out among Munchkins as the Barrister and the Coroner respectively.
The very best performance of the night was turned in by Josh Hammond as the Scarecrow. He perfectly nailed the difficult dance moves that were epitomized by Ray Bolger in the film version. He captured his character perfectly, and with a great voice to boot, he stole the show.
One of the problem numbers was "Ding Dong The Witch is Dead". Although the Winkies did a fine job in their "March of the Winkies", this signature number appeared totally unrehearsed.
Another weak link in the show was the setting. The resolving center set was very impressive, but the Munchkin village was uninspired and a couple of the set pieces crossed from amateurish to downright cheesy.
An example is Professor Marvel's wagon and more importantly, Glinda's bubble.
The bubble appeared to be covered by something like screen wire that didn't quite come together in the middle. A simple illuminated sphere would have been much more effective.
On a more positive staging note, the use of video projection on the theater ceiling for the tornado and for the encounter with the Wizard was inspired and it added a high-tech update to this familiar story.
With a couple small glitches aside, this is a truly epic production, and one that your children and grandchildren will love.
And so will you.
Kudos to Mary Ellen Ulrich for her direction and to Aliesha Graves for her excellent choreography!
The show runs through next weekend at the theater in Lakeview Park.
.
Saturday, January 22, 2011
- Theater Review - Metropolis Has No Superman
The Corn Stock Winter Playhouse continued its season with the presentation of two plays by playwrights "with local roots".
The first play is "Context", written and directed by Peorian Laura Swatner Johnson.
At just under ten minutes, this play was mercifully short. With no dialogue at all, it is a trite and forgettable narrative on communicating strictly through text message.
The evening's main event is "Metropolis Has No Superman" directed by Sean C. Howell and written by G. William Zorn. Mr. Zorn is a native Peorian, currently enrolled in the doctoral program at Western Michigan University.
Although this play was the winner of the Kennedy Center's 2009 Mark Twain Prize for Comedy Play writing, I would classify it as a drama with only a few comedic moments. Do not attend expecting a lot of belly laughs.
The play is set in Metropolis Illinois and centers on Chance Loring's estrangement from his family and in particular from his just deceased father. Many years ago, Chance fled the confines of small town Metropolis for the gay subculture in Chicago, where he makes his living drawing and publishing Queer-Boy Comics. Through his comics, Chance fictionalizes his family as well as his own life. The title character, Queer Boy, is based on Chance's boyfriend, Tracy. Another character, Jesus Girl is based on his sister Deedee. The comic book's villain is based on, you guessed it, Chance's father, Graham Loring.
After an absence of six years, Chance returns to Metropolis for his father's funeral. The elder Loring has committed suicide by driving his Chrysler full-speed into the statue of Superman that stands before the county courthouse.
This play is a solid work about family interaction and dysfunction by a talented aspiring playwright. It is filled with innuendo and symbolism, some of which is perhaps a bit too obvious.
It was exciting to watch the play WITH the playwright and to be able to speak with him after. I asked if his choice of a character name Tracy Betts was an homage to Chicago playwright Tracy Letts. He replied that perhaps he subconsciously hoped to tap the good fortune that Letts had encountered with his Pulitzer Prize winning play "August Osage County", a play that also examines similar themes of alcoholism and family dynamics.
This Corn Stock production is extremely well acted.
All of the women deliver excellent performances, Rebecca Frankel Clifton as Marion, the alcoholic matriarch of the Loring clan, Donna K. Eckhoff as the slow and somewhat butch sister Doris; and Karen Stecher is especially good as sister Deedee Betterman/Jesus Girl.
John Carroll does a great turn in the lead role of Chance. Fred Schoen is good as father Graham, and Jeff Craig is truly excellent in his portrayal of two totally different characters, Burt and Bill.
While Brian McKinley does a good job as Tracy/Queer Boy, he is perhaps a little too laid-back in the role. I would have liked to see him turn it up a notch. In my opinion, the character needed to be a bit more flamboyant.
It is truly commendable that Corn Stock, for the second year, is continuing to offer exposure to local playwrights.
Please make it a point to see this production at the Lab Theater in upper Bradley Park. Tickets are only $10 and can purchased through the box office (676-2196) or at the door. Performances continue tonight and tomorrow as well as next weekend (January 27 - 29).
.
The first play is "Context", written and directed by Peorian Laura Swatner Johnson.
At just under ten minutes, this play was mercifully short. With no dialogue at all, it is a trite and forgettable narrative on communicating strictly through text message.
The evening's main event is "Metropolis Has No Superman" directed by Sean C. Howell and written by G. William Zorn. Mr. Zorn is a native Peorian, currently enrolled in the doctoral program at Western Michigan University.
Although this play was the winner of the Kennedy Center's 2009 Mark Twain Prize for Comedy Play writing, I would classify it as a drama with only a few comedic moments. Do not attend expecting a lot of belly laughs.
The play is set in Metropolis Illinois and centers on Chance Loring's estrangement from his family and in particular from his just deceased father. Many years ago, Chance fled the confines of small town Metropolis for the gay subculture in Chicago, where he makes his living drawing and publishing Queer-Boy Comics. Through his comics, Chance fictionalizes his family as well as his own life. The title character, Queer Boy, is based on Chance's boyfriend, Tracy. Another character, Jesus Girl is based on his sister Deedee. The comic book's villain is based on, you guessed it, Chance's father, Graham Loring.
After an absence of six years, Chance returns to Metropolis for his father's funeral. The elder Loring has committed suicide by driving his Chrysler full-speed into the statue of Superman that stands before the county courthouse.
This play is a solid work about family interaction and dysfunction by a talented aspiring playwright. It is filled with innuendo and symbolism, some of which is perhaps a bit too obvious.
It was exciting to watch the play WITH the playwright and to be able to speak with him after. I asked if his choice of a character name Tracy Betts was an homage to Chicago playwright Tracy Letts. He replied that perhaps he subconsciously hoped to tap the good fortune that Letts had encountered with his Pulitzer Prize winning play "August Osage County", a play that also examines similar themes of alcoholism and family dynamics.
This Corn Stock production is extremely well acted.
All of the women deliver excellent performances, Rebecca Frankel Clifton as Marion, the alcoholic matriarch of the Loring clan, Donna K. Eckhoff as the slow and somewhat butch sister Doris; and Karen Stecher is especially good as sister Deedee Betterman/Jesus Girl.
John Carroll does a great turn in the lead role of Chance. Fred Schoen is good as father Graham, and Jeff Craig is truly excellent in his portrayal of two totally different characters, Burt and Bill.
While Brian McKinley does a good job as Tracy/Queer Boy, he is perhaps a little too laid-back in the role. I would have liked to see him turn it up a notch. In my opinion, the character needed to be a bit more flamboyant.
It is truly commendable that Corn Stock, for the second year, is continuing to offer exposure to local playwrights.
Please make it a point to see this production at the Lab Theater in upper Bradley Park. Tickets are only $10 and can purchased through the box office (676-2196) or at the door. Performances continue tonight and tomorrow as well as next weekend (January 27 - 29).
.
Saturday, January 8, 2011
- Theater Review - Blue Man Group
Peoria Civic Center Theater continued their 2010-2011 season with "Blue Man Group".
This offering presented a night of high-tech lighting, video, animation, and bone-jarring percussion.
The show included audience participation, slapstick humor, and giant balls and streamers shot into the crowd.
In my review of last season's "Cirque Dreams Illumination", I included this line:
"...this ain't really theater."
This statement is equally true here.
I understand the Peoria Civic Center's desire to expand their repertoire in an attempt to draw in more people, and evidently this is working well for them.
Friday night's opening performance enjoyed a packed house of enthusiastic people of all ages. The crowd loved this show.
However, the theater snob in me believes that shows like this and "Cirque" have no place in a Broadway Theater Series.
Perhaps next year the PCC Theater can introduce a separate "Las Vegas Theater Series".
"Blue Man Group" has its final performance tonight.
.
This offering presented a night of high-tech lighting, video, animation, and bone-jarring percussion.
The show included audience participation, slapstick humor, and giant balls and streamers shot into the crowd.
In my review of last season's "Cirque Dreams Illumination", I included this line:
"...this ain't really theater."
This statement is equally true here.
I understand the Peoria Civic Center's desire to expand their repertoire in an attempt to draw in more people, and evidently this is working well for them.
Friday night's opening performance enjoyed a packed house of enthusiastic people of all ages. The crowd loved this show.
However, the theater snob in me believes that shows like this and "Cirque" have no place in a Broadway Theater Series.
Perhaps next year the PCC Theater can introduce a separate "Las Vegas Theater Series".
"Blue Man Group" has its final performance tonight.
.
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