REVIEW: Ghostbox (InFusion Theatre Company)

 

Where Bergman dared to tread

 

 

Ghostbox (1) - Photo by Kevin Viol

    
InFusion Theatre presents
    
Ghostbox
   
Written by Randall Colburn
Directed by Mitch Golob
Apollo Theater Studio, 2540 N. Lincoln (map)
through October 31  |  tickets: $12-$20  |  more info 

Reviewed by K.D. Hopkins

I have to give credit to InFusion Theatre Company for stepping out of the usual experimental game with Ghostbox. Randall Colburn has taken more than a page from one of my favorite directors and made it work by means of multimedia. The one-act play opens with Wife, played by Victoria Gilbert, demonstrating how a simple transistor radio can pick up supernatural signals. The film is shot in a grainy 1970’s patina of de-saturated color. It has an eerie feel and sets the mood for what comes next. The actual stage is painted in washed out gray tones with the screen set center stage. The actors are dressed in gray scale colors as well, with the exception of the Shadow that looms ominously.

Ghostbox is reminiscent of two of Bergman’s masterpieces: “Through a Glass Darkly” and “The Seventh Seal”. Victoria Gilbert’s dialogue would seem repetitive in the hands of a less emotive actor. As Wife, she portrays the agony of loss and the psychology that lies beneath. Colburn’s dialogue reaches into the exotic territory of Reykjavik as the beginning of the love story of Husband and Wife. Husband spoke of Reykjavik as if it were the Promised Land where their love would be perfect. Wife reveals that he kept his deep melancholy and sexual dysfunction a secret.

Ghostbox (7) - Photo by Nastassia JimenezThe characters are kept from connecting and roam a wasteland of radio signals and flashbacks on film. This is indeed a thriller, but thankfully not in the obvious slasher mode. There are no winks at the audience in Ghostbox. This play grabs, releases, and toys with the subconscious. The images of water suggest drowning versus cleansing and purity. Even the scenes of Gilbert standing in a field of solid green are ominous and somehow stark.

Kevin Crispin plays the role of Husband. He bears a stricken hollowed visage that harkens back to German Expressionism films as well as the man playing chess with Death in “The Seventh Seal”. It’s a mystery – is Husband trying to avoid Wife in this murky place that they roam or is he keeping clear because of Shadow.

Ghostbox makes excellent use of sound (sound design by Claudette Perez) with jagged piercing radio signals that cause a few gasps in the audience, adding another layer for the characters to navigate in this nebulous place. I had visions of the old ‘Radio Free Europe’ commercials that called for open radio signals behind what was called the Iron Curtain. I was back in my seven year old psyche and recalling the terror I felt for the people who couldn’t just turn on the radio for pleasure as well as the pain and the smell of what I imagined was a real iron curtain. With Ghostbox, Colburn has created an onomatopoeia of vision and sound that projects a stark and frozen hell. When Gilbert and Crispin are together on the stage the action is taut, feeling as if glass is breaking everywhere without hearing the sounds. Gilbert goes from stricken and grieving to anger – anger at being denied love and sexuality. Crispin treads a tightrope of emotion as it is slowly revealed where they are and how they got there.

If Ghostbox were a film it would be in black and white. Director Mitch Golob keeps the scenes tight and efficient as if he were a film auteur. The suffering of humankind is said to be universal, but how it is expressed varies. It’s a refreshing experience to see a theatre production that does not go for the obvious but definitely hits the jugular. (A strange contrast to see the folks in line for Million Dollar Quartet in the main theatre.) It is a shot of surreal Technicolor and then an Icelandic blast downstairs in the Apollo Studio. Ghostbox is marketed for Halloween entertainment and it will hit the spot. Sleep well children…

   
   
Rating: ★★★½
   
  

Ghostbox (5) - Photo by Nastassia Jimenez

InFusion Theatre Company presents Ghostbox at the Apollo Studio on Thursdays through Saturdays with a special Halloween Performance on October 31st at 8:30 pm. The Apollo Studio Theater is located at 2540 N. Lincoln. Call 773-935-6100 or www.ticketmaster.com

 

   
   

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REVIEW: Choose Thine Own Adventure (Filament Theatre)

An adventure worth choosing!

 

Choose Thine Own Adventure Image 2 (CMYK)

   
Filament Theatre presents
   
Choose Thine Own Adventure
   
Adapted from William Shakespeare by Allison Powell
Directed by Julie Ritchey
at The Underground Lounge, 952 W. Newport (map)
through December 11  |  tickets: $15  |  more info

Reviewed by Allegra Gallian

With its fifth season opener, Filament Theatre Company wanted to explore what a Shakespearean theatre setting might be like in the 21st century. They were inspired by the groundlings who stood in the “yard” of the Globe Theatre to watch Shakespeare’s production, yelling, talking and being boisterous throughout the performance. They asked, “Why not embrace that rowdy, passionate side of the human spirit and perform Shakespeare as the groundlings would have wanted it?” Filament Theatre has done away with traditional theatre elements, tearing down the fourth wall and setting the show in a bar to see what can happen with their production of Choose Thine Own Adventure.

The Underground Lounge provides the setting for Choose Thine Own Adventure. The stage is set to look like a London stage circa the Elizabethean period. There are only a few set pieces, mainly a bench center stage that offers use as it is, as a balcony and as a boat to name a few. The bar atmosphere lends itself to the interaction between the actors and the audience. Pre-show entertainment gets everyone in the mood with music rocking out of the speakers while the actors play various games like ring toss with the audience. It’s rowdy, outgoing, lively fun and festivities that foreshadow what’s to come.

Choose Thine Own Adventure Image 3 (CMYK)As soon as Choose Thine Own Adventure begins, it’s clear that hilarity will ensue. The four person ensemble of Dromio (Marco Minichiello), Antonio (Ped Naseri), Bernardo (Omen Sade) and Rosalind (Mary Spearen) is equally strong and talented as they play both their roles and themselves as characters. The show opens with each cast member reciting various lines of Shakespeare. They ham it up and play it out the audience in a stagey but entertaining manner. It’s then made known that there’s a mix up as to what show is to be performed so the actors turn the choices to the audience. Completely tearing down that fourth wall between the stage and the seats, the audience is brought right into the action as the actors deliver various choices on where the action can go. Depending on the response they receive, Choose Thine Own Adventure can end in at least 20 different ways. Choices include where the scene should take place, what action should occur or whether it should be a comedy or a tragedy.

All four cast members are clearly comfortable playing off the audience and do so confidently. They are great with comedic timing and adlibbing lines for effect. Naseri in particular delivers some hysterically improved lines. Naseri, Sade and Minichiello have each created a unique persona for their character. Naseri cleverly plays into the comedy and the laugh lines. Minichiello excels at playing off and playing to the audience while reciting Shakespeare with skill, and Sade powerful stage presence allows him to fill the space. Spearen holds her own against the men of the cast, inserting her own wit and comedic talent as she plays opposite each man.

Choose Thine Own Adventure Image 1 (CMYK)The cast is fully engaged throughout the run of Choose Thine Own Adventure, which keeps the audience glued to the action, cracking up and laughing out loud for the entire one-hour run time. They are able to adjust to whatever the audience chooses – and then jump right into the action. While it is funny and entertaining, it is still Shakespeare at its core. The cast has a clear understanding of Shakespeare’s plays and delivers quality performances of the actual material while adding the fun and twists.

Choose Thine Own Adventure is both a well-done work of Shakespeare as well as a hilarious good time that’s full of laughs and lively action.  Filament Theatre has truly created an adventure worth choosing! 

    
   
Rating: ★★★★
   
   

Choose Thine Own Adventure Image 4 (CMYK)

Choose Thine Own Adventure plays at The Underground Lounge, 952 W. Newport Ave., through December 11, 2010. Tickets are $15 and can be purchased at http://www.filamenttheatre.org/tickets/

   
   

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REVIEW: The Rocky Horror Show (NightBlue)

 

Lewd, crude ‘Rocky Horror’ an interactive event

 

FrankFloorShow

        
NightBlue Theater presents
    
The Rocky Horror Show
    
Written by Richard O’Brien
Directed by Chris Weise
Musical direction by
Jason Krumweide
at Stage 773*, 1225 W. Belmont (map)
Through Oct. 31  | 
Tickets: $20  |  more info

Reviewed by Leah A. Zeldes

I am old. How old am I? I am so old that the first time I saw “The Rocky Horror Picture Show” film, nobody threw toast. Or came in costume. Or talked back to the screen. Or did anything but sit there agape.

The next several occasions I viewed the film went just about the same. The rock opera about young Brad Majors and his fiancé Janet Weiss and their remarkable night with the degenerates "Over at the Frankenstein Place" was as yet unsullied by any of audience-participation shtick that accompanies any showing of the film today. And while the film phenomenon was in full swing by the time when, some years later, I first saw a production of the stage musical that had preceded the 1975 cult movie classic, no one in the audience did anything more than wear costumes and dance in the aisles during the closing reprise of "Time Warp."

I confess I enjoyed both film and play better that way. I don’t mind the toast tossing or the newspaper head covering, but I wish that theaters of both types would offer at least a few showings where they tell the peanut gallery to shut up so the rest of us can hear the show.

On the night I saw NightBlue Theater’s current production of The Rocky Horror Show, several audience members kept up such a running litany of interjections that it became difficult to follow the actors. That’s a pity, because many of them are strong performers, both as actors and singers. It’s difficult to do Rocky Horror without hamming it up too much, but Director Chris Weise and cast do an admirable job of keeping things in bounds.

On the other hand, Rocky Horror has two only slightly overlapping sets of fans — I’ll call them the nerds and the vulgarians. The nerds, among whom I count myself, can explain all the references in the opening "Science Fiction Double Feature" (a terrific song, but Usherettes Irene Patino and Carolyn Ewald could barely be heard over the audience in NightBlue’s production) and further can run through all of the science-fiction tropes creator Richard O’Brien so cleverly parodied throughout the musical. The vulgarians are mainly just titillated by the smut and funny underwear and enjoy being part of the show.

NightBlue, which sells $5 participation kits containing toast, confetti, newspapers and all the other accouterments, aims its production firmly toward the second group. Pre-show host Mark Stickney welcomes Rocky Horror "virgins" The%20Rocky%20Horror%20Show563_MainPicturefrom the audience on stage before the outset and engages them in a highly lewd contest as well as encouraging everyone to shout out during the show.

The production combines elements of both the stage musical and the film. The minimalist set and David E. Walters and Laura Zettergren‘s costumes put an emphasis on the prurient. Musical Director Jason Krumweide leads a fine four-piece band, playing keyboards himself with Ken Kazin on drums, Larry Sidlow on guitar and Donn De Santo on bass, although the volume sometimes overwhelms the singers — some of the women, especially, seem to be acoustically challenged, and several actors were using hand mikes, including, most oddly, Paul E. Packer as Rocky Horror, Frank N. Furter’s homemade muscle man. Packer has the right physique for but he lacks the part’s youthful innocence and sings at too deep a pitch.

Stickney goes on to play Eddie — with a great version of "Hot Patootie," including a great dance sequence with Katherine Cunningham, as Columbia — and Dr. Scott. Jennifer Reeves Wilson‘s choreography in other dance numbers, such as "Don’t Dream It Be It," sometimes seems messy.

Smooth-voiced Corey Mills plays an especially wimpy Brad Majors, which works very well against Erin O’Shea’s robust Janet Weiss. Eric Hawrysz makes a stiffer than usual Narrator. Megan Schemmel is a picture-perfect Magenta.

As mad scientist Frank N. Furter, Michael Bounincontro channels Tim Curry for all he’s worth, bringing little originality to the role, but doing a fine mimicry with a powerful voice. Kevin Buswell‘s Riff Raff has more novelty, if only because he starts out emulating Lurch.

If you’re looking for vulgarly raucous Halloween good times, NightBlue provides them, especially if you enjoy performing more than you like listening.

   
   
Rating: ★★½
   
   

*except Oct. 31, which will be at The Elbo Room

REVIEW: The Censor (Ebb and Flow Theatre)

 

The sex whisperer

Censor 1

   
Ebb and Flow Theatre presents
 
The Censor
   
Written by Anthony Neilson
Directed by
Mike Rice
at
The Basement, 1142 W. Lawrence (map)
through November 20  |  tickets: $10  |  more info

I’ve been to theater in basements before—nice, clean church basements, whose price is right for the cash-strapped theater company. But the setting for Ebb and Flow Theatre’s current production, The Censor, is a basement of an altogether different order—dank, musty, dirty, with an air of eerie abandonment. It’s a basement where you wonder where the bodies are buried. If you are tall, watch your head. Pipes jutting from the fairly low ceiling only contribute to the show’s claustrophobic atmosphere. Ebb and Flow want to give Scottish playwright Anthony Neilson’s play all the subterranean impact they can, given that the play is about our tendency to relegate explicit sex, and all attempts to depict it, to a foul and shame-filled underworld.

Censor 6 Under the direction of Mike Rice, this basement is the office of The Censor (John Gray). He works in the pornography department to which the Board of Classification has consigned him and it serves as a purgatory to which he’s resigned himself. “Do you know what we call this place?” he asks Ms. Fontaine (Geraldine Dulex), creator of the sexually explicit film he is in the process of rating. “It’s called ‘The Shithole’.” At another juncture he confesses, “We’re virtually lepers down here.” It’s his duty to act as society’s guardian, rating the pornography that comes across his desk, protecting the rest of us from its illicit images. Yet simply coming into contact with such material has rendered him a pariah in his co-workers’ eyes.

Ms. Fontaine tries to make The Censor “see” her film as she intended, the story of a love affair depicted in images, not words, using only “the international language of sex.” At first one suspects she’s pulling the tired, old “porn as art” ruse in order to win a less restrictive rating but, first and foremost, Fontaine is a believer. Her attempts to convince The Censor clearly indicate that she is out to obtain converts. As though she were a prophet, seer, or mystic, she then reads The Censor sexually and emotionally, proving her currency with the “language of sex” by accurately guessing his childhood and current marital state without anything divulged from him. Ms. Fontaine becomes the Sex Whisperer to all The Censor’s secret sexual privations, insecurities, and humiliations. Their relationship takes on a therapeutic, as well as pornographic, aspect as he opens up about the true nature of his sexually desiccated day-to-day existence.

Much about Ebb and Flow’s production is enjoyable. Neilson’s dialogue is tight, riveting and often poetic. Rice’s direction moves the action along convincingly and realistically—no small feat for a play that mimics porn scenarios. John Gray’s performance alone is worth the price of admission. He lends meaty depth, humor and humanism to his character’s loneliness, isolation and constant, neurotic desperation to do things correctly. Dulex may have a greater challenge depicting Fontaine, who often comes across as the all-knowing voice of sex and hardly seems human at all. Dulex definitely captures Fontaine’s oddly enigmatic, distanced perspective. For all

the daring with which this messiah engages in sex, the emotional connections are just not there.

 

Censor 2 Censor 4

As for me, I came away from The Censor unconvinced as to its “in-yer-face” daring or authenticity. An award-winning play, The Censor depends just a little too heavily on basing Fontaine’s legitimacy upon her quasi-mystical sexual therapy. The scenario of the wiser, more experienced sexual partner claiming greater knowledge than the inexperienced or repressed initiate—knowing him better than he knows himself—is as old as porn itself. It certainly receives no refreshing or insightful treatment here. Furthermore, the play is hampered by the scattered introduction of The Censor’s wife (Amy Johnson) between the scenes in which Fontaine makes her case about the film. It was almost a relief to see Johnson sit down in an actual scene with Gray. Finally their marital malaise was palpable and thoroughly cemented his ostracization to the porn purgatory he has, essentially, chosen.

   
   
Rating: ★★★
   
   

Censor 3

REVIEW: Candida (ShawChicago)

 

Shaw explores love by choice rather than passion

 

shawchicago logo

    
ShawChicago presents
    
Candida
  
Written by George Bernard Shaw
Directed by
Robert Scogin
at
Ruth Page Theater, 1016 N. Dearborn (map)
through November 8  |  tickets: $10-$22   |  more info

Reviewed by Katy Walsh 

Everyone loves the Morells but nobody wants to talk about it! ShawChicago presents Candida, George Bernard Shaw’s play about love in and outside the marriage. In 1894 London, Reverend James Morell is in demand on the lecture circuit. His social reform stance has made him a celebrity. His idolizing fans place him on a pedestal. The Reverend enjoys the adoration of his followers including his favorite admirer, Candida –his wife. Life for the Reverend is worship as usual until a young man declares his own love for Candida. Not just that, the young man proposes he’s better suited for her because he’s totally focused on HER happiness. Over a hundred years later, Shaw’s deconstruction of love is timeless humor. In the formalized culture of the time period, love is and isn’t discussed with apologies and controlled emotion. Shaw scrutinizes a marriage to a husband, who has a healthy sense of self. When one confession leads to another, love happens. Candida is a humorous debate of the meaning of love without feelings.

George_bernard_shaw As is ShawChicago’s style, Candida is performed as a staged reading. No sets. No costumes. Under the direction of Robert Scogin, it’s all about Shaw’s words interpreted by a talented cast. Matt Penn (Morell) has controlled intensity as the Reverend. His bursts of rage are a surprising contrast to his confident public self. The target of the anger, Christian Gray (Eugene) plays the young confessor of love with nervous energy and a hint of evil intent. Gray provides a complex version of the love opponent with poetic horrors. Barbara Zahora (Candida) is coarsed-grain. She lives in her husband’s world but maintains her own identity. Zahora charms with a strong sensibility. Lydia Berger (Garnett) is hysterical as the uptight typist. A victim of a secret love, Berger is sharp-tongued with delicious bitterness.

Jack Hickey (Mr. Burgess) assesses the ‘madness’ around him with humor and a strong working class English accent. Sparring with Berger, Kaelen Strouse (Lexy) is also crushing on the Reverend with a sweet devotion. This cast magnificently flirts with all the aspects of unrequited love.

Undoubtedly, Candida shocked the turn-of-the-century audiences. Today, it still surprises for its ageless topic, love. In 2010, love is expressed with emotion. Uncontrollable passion drives people together and apart. It’s not so much a decision to love, as the fated outcome of animalistic urges. Perhaps we should all channel our inner Shaw for lively intellectual debates on love before going heels over head.

Critics, like other people, see what they look for, not what is actually before them. –George Bernard Shaw

   
   
Rating: ★★★
    
   

Running Time: Two hours includes a fifteen minute intermission

   
   

REVIEW: Cash on Delivery (Saint Sebastian Players)

 

Spinning Plates

 

Cash on Delivery - Saint Sebastian Players 2

   
Saint Sebastian Players present
   
Cash on Delivery
   
Written by Michael Cooney
Directed by
Jonathan “Rocky” Hagloch
at
St. Bonaventure Church, 1625 W. Diversey (map)
thru November 14  |  tickets: $10-$15   |  more info

reviewed by Lawrence Bommer

Identity theft is usually not the stuff of combustible comedy. But when it’s tied up with and results in mistaken identities, mixed signals, ill-timed interruptions and the rest of the detritus of classic farce, confusion can be critically comical. Michael Cooney, son of Ray (“Run for Your Wife”) Cooney, clearly learned from his father all the literal ins and outs of vintage farce with its slamming doors and self-fulfilling folly. The big difference here is that Cash on Delivery is no bedroom farce (though there’s some genuine confusion about supposed gay or cross-dressing activity). No, here the impetus is an elaborate and perilous fraud perpetrated by Chicago landlord Eric Swan against the Social Security Administration. It seems that the S.S.A. has inundated the opportunistic Eric with claims for a former tenant that, with a little scamming and false filings, mushroomed into $65,000 per year’s worth of multiple deceptions for unemployment, disability, medical and many other false benefits that this unemployed husband just didn’t have to courage or rectitude to decline.

Cash on Delivery - Saint Sebastian Players Of course, living a lie is a lot more taxing (so to speak) than sticking to the simple truth. It all threatens to elaborately unwind as Mr. Jenkins, a nerdy S.S. investigator, comes by for two simple signatures for some required paperwork. That’s all it takes for Cooney to unleash a flood of desperate cover stories as one lie contradicts another and Eric’s house of prevarication comes slowly tumbling down over the next 140 minutes. To pull off the crazed complications (which recall the excesses of Weekend with Bernie grafted onto Lend Me a Tenor) that eventually yield to the straightforward truth and a plausible happy ending requires the usual tour de force of timing, mugging, slow burns, costume switches, double faces, switcheroos, cover-ups, and other comic machinery.

Jonathan Hagloch’s ten actors pull off the shenanigans fairly well, with Greg Callozzo spinning the plates without dropping any (a metaphor taken from the old “Ed Sullivan Show”): Flagrantly and with multiplying mania, his Eric tries to keep his stories straight, with inept help from his upstairs tenant (busy Doug Werder). It helps that the other characters are credulous enough to be taken in by their sham show, most particular an increasingly hysterical Angela Bullard as Eric’s tormented wife, Michael Wagman as the nebbishy S.S. investigator, and Lyn Scott as his battleaxe supervisor. Jim Masini gets battered into unconsciousness as Eric’s venal uncle. The others play an overly helpful family crisis counselor, an officious undertaker, the neighbor’s frazzled fiancée, and a marriage counselor who adds his own befuddlement to this toxic mix.

With silly stuff like this, it’s more important to play it quickly than smoothly. Only in the overlong second act, where the playwright seems to be showing off his ability to keep the lies separate but equal, does the plot thicken into more turgidity than hilarity. But the audience never stops laughing throughout and that’s how you know a farce has force. You don’t have time to wonder why the S.S.A. makes house calls or a social worker can instantly arrange a funeral on the spot. The jokes come faster than any saving skepticism that might stop them in their tracks. Of course, we wouldn’t have it any other way.

   
   
Rating: ★★★
   
   

Saint Sebastian Players logo

REVIEW: Seven Brides for Seven Brothers (Drury Lane)

 

Dynamic choreography, rousing leading lady save flawed musical

 

 (L-R) Cara Salerno, Vanessa Panerosa, Amber Mak, Hallie Cercone, Abby Mueller, Katie Huff, and Amanda Kroiss star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

        
Drury Lane Oakbrook presents
   
Seven Brides for Seven Brothers
   
Book by Gene del Paul, Al Kasha and Joel Hirschhorn
Music/Lyrics by Gene del Paul, Al Kasha, Joel Hirschhorn and Johnny Mercer
Directed by Bill Jenkins
Musical Direction by
Roberta Duchak
at
Drury Lane Theatre, Oakbrook Terrace (map)
through December 19  |  tickets: $31-$45  |  more info

Reviewed by Oliver Sava

In the 1954 movie musicalSeven Brides for Seven Brothers”, when men kidnap women and trick them into marriage, it’s not Stockholm syndrome, it’s love. “Seven Brides for Seven Brothers” is one of those movie musicals that is a product of its time, when women were looked at as little more than glorified housekeepers and baby makers, born to do the will of their man. When Adam Pontipee (Steve Blanchard) deceives the sassy Milly (Abby Mueller) into marrying him, his six brothers set out to capture wives for themselves, ambushing six town girls and throwing them in the back of their wagon. It’s offensive, but the music is jovial and melodic, the dancing is energetic and plentiful, and the film’s leading man Howard Keel’s booming voice and charming smile make it difficult to despise the chauvinistic Adam.

(L-R) Richard Strimer (Benjamin) and Abby Mueller (Milly) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett BeinerMy problems with the stage adaptation of Seven Brides for Seven Brothers arise from its attempts to flesh out the characters, which sounds like a good thing but ends up backfiring by making them even shallower. The solos do very little to make you sympathize with the characters, with Milly’s “One Man” beginning as a condemnation of her husband’s trickery before devolving into a tribute to female subservience. Conversely, Adam’s big Act Two moment of redemption “Where Were You?” attempts to justify his sexism by giving him a daddy complex, blaming his actions on his absent father instead of taking responsibility himself. It’s not difficult to assume that Adam’s behavior is a product of his environment, but when it is put into song it just makes the already unlikable character seem pathetic. Blanchard’s vocals don’t help matters, lacking the timbre and strength expected from an 1850 frontiersman. And while the added ensemble numbers manage to evoke the musical style of the film, the solos and smaller group sequences have a contemporary feel that is out of place with the rest of the show’s classic musical theater sound.

The highlight of the production is easily Milly and her relationship with her six brothers-in-law. Mueller’s crystal clear tone and powerful belt make her musical numbers stand out, and she has great chemistry with her new relatives as she assumes a dominating mother position in the household. Watching the brothers transform under Milly’s feminine influence is a joy, from learning to dance in “Goin’ Courtin’” to finally appreciating their women in the heartfelt “Glad That You Were Born.” With the brothers, there is evidence of a struggle between the uncivilized way they’ve been brought up and the restraint that makes for successful courting. “We Gotta Make It Through The Winter” is a hilarious exclamation of horny frustration, but it is followed by Daniel (William Travis-Taylor) and Frank (Brandon Springman) ruminating on the somber effects of loneliness in the beautiful “Lonesome Polecat.”

 

(L-R)  Abby Mueller (Milly) and Steve Blanchard (Adam) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner (L-R) Richard Strimer, Jarret Ditch, William Travis Taylor, Chris Yonan, Brandon Springman and (back) Zach Zube star in Seven Brides for Seven Brothers.  Photo by Brett Beiner.

The brothers learning to dance comes in handy for Tammy Mader’s intense, dynamic choreography. Maybe the reason Adam and Milly’s romance never blossoms on stage is because they don’t have a nice dance together like the brothers and their brides. There isn’t much depth to these characters and their affection for each other, but the substance appears in their dancing, when the chemistry really ignites. The extended town dance sequence in Act I is a mesmerizing affair, albeit a little chaotic and unclear at times, while an Act II all-bride dream ballet brings some sensuality to the affair.

Like the film, this production is propelled by its dancing, but bodies in movement can’t overcome all the flaws of the writing. The changes to the film give the story a more modern context, and the attempt to psychoanalyze the characters through song removes much of the musical’s charm. Drury Lane’s Seven Brides for Seven Brothers is a polished, well-performed production, but the questionable source material prevents it from rising to true greatness.

   
   
Rating: ★★½
   
  

(L-R) Chris Yonan, Hallie Cercone, Jarret Ditch, and Cara Salerno star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

 

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