Review: A Little Night Music (Circle Theatre)

  
  

An impressive revival of Sondheim’s sex comedy classic

  
  

A Little Night Music cast - Circle Theatre Oak Park

  
Circle Theatre presents
  
A Little Night Music
  
Music/Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Directed by Bob Knuth
at Circle Theatre, Oak Park (map)
through June 5  |  tickets: $22-$26  |  more info

Reviewed by Oliver Sava

Stephen Sondheim’s musicals often contain an element of nostalgic regret, focusing on characters that look back on their muddled pasts in hopes of achieving, as A Little Night Music’s Desirée Armfeldt (Anita Hoffman) says, “A coherent future.” The aging artists of Follies, the fairy tales of Into The Woods, Sweeney Todd’s titular anti-hero – these  are just a few of the composer’s characters that are faced with the consequences time brings, and A Little Night Music is one of the most chronology-focused musicals in Sondheim’s canon. Key words like “now,” “soon,” “later,” and “meanwhile” are repeated to emphasize the passage of time, unified by the inquisitive “remember” that sparks the characters’ trips down memory lane. The past, present, and future intersect in a delicate waltz, and Sondheim writes most of the show’s music in ¾ time, overlapping the melodic themes with his signature complexity and precision.

Jeremy Rill (Carl-Magnus) and Deanna Boyd (Charlotte)Bob Knuth’s staging is similar to Trevor Nunn’s recent Broadway revival, with a similarly clean, white-washed set design also from Knuth, and the production’s technical aspects have a similar level of polish. Elizabeth Powell Wislar’s costume design is particularly stunning, and these characters are dressed with the level of elegance and sophistication worthy of their status. Knuth assembles a cast that handles the difficult music especially well, layering the moving voice parts with a great sense of timing, and crisp articulation that is much appreciated during intense numbers like “Weekend in the Country” where multiple parts are being sung simultaneously. Desirée’s five actor companions serve as an observing chorus, and they begin the show with an overture that establishes the melodies that will be revisited throughout the show. In the temporal context of the show, the overture becomes more than just a collection of the show’s most memorable tunes, but rather plants seeds that will later be cultivated by the other actors in the ensemble.

This is a musical about relations – husbands and wives, parents and children, the young and the old – and despite the occasional instance of overacting, Knuth’s cast succeeds in building the character connections that are elevated by Sondheim’s rich music. Hoffman anchors the production with her captivating portrayal of Desirée, capturing the weariness that comes with the touring life and the desire to finally obtain a life of stability with her daughter Fredrika (Alicia Hurtado). When she reunites with her past lover Fredrik Egerman (Kirk Swenk), she sees an opportunity to finally have the life she dreams of, but Fredrik’s eighteen-year-old wife Anne (Stephanie Stockstill) stands in their way. Matters are further complicated by Desirée’s preexisting affair with an insanely jealous dragoon Count Carl-Magnus Malcolm (Jeremy W. Rill), whose destitute wife Charlotte (Deanna Boyd) tells Anne about Desirée’s affairs with both their husbands.

     
Patrick Tierney as Henrik in Stephen Sondheim's "A Little Night Music" at Circle Theatre. Khaki Pixley as Petra in Stephen Sondheim's "A Little Night Music"
Stephanie Stockstill (Anne) and Deanna Boyd (Charlotte) in Stephen Sondheim's "A Little Night Music" at Circle Theatre. Anita Hoffman (Desirée) and Jeremy W. Rill (Carl-Magnus) in Stephen Sondheim's "A Little Night Music" at Circle Theatre in Oak Park.
   

As Desirée’s partners, Swenk and Rill both showcase strong vocals, and there’s a clear contrast in their affection for Ms. Armfeldt. Fredrick genuinely longs for her on an emotional, whereas Malcolm desires her on a solely sexual level, and Rill gives Malcolm an exaggerated arrogance that works for the character, especially with his powerful singing. As his wife Charlotte, Boyd gives the character an appropriately dreary disposition, but she becomes too much of a caricature when her character breaks out of her depression. Stockstill’s Anne is delightfully naïve at the start of the show, still a child despite having been married for eleven months. The adorable flirtation between Anne and her step-son Henrik (Patrick Tierney) shows how innocent she is in comparison to women like the Egermans’ amorous maid Petra (Khaki Pixley), depicting an Anne who is anxious to explore her sexuality but not with her own aging husband.

Stockstill has a beautiful singing voice, and her duet with Boyd, “Everyday A Little Death” is a heartbreaking revelation that underneath the sexual comedy these are people in pain. Henrik is the play’s bleakest character, and Tierney does admirable work balancing the character’s jaded opinion of the world with a desire to find the kind of the love that he so publicly renounces. Tierney, along with Alicia Hurtado (Fredrika) and Patti Roeder (Madame Armfeldt) in Stephen Sondheim's "A Little Night Music", now at Circle Theatre in Oak Park.Rill, has some of the most difficult music in the show, and while there are times that he could use some more support to stay on key, he does strong work with difficult material.

Fredrika and her grandmother Madame Armfeldt (Patti Roeder) represent the two ends of the time spectrum, as Madame lives in the past, while Fredrika is constantly looking toward the future. Roeder’s solo “Liaisons” could be considered the play’s theme, a meditation on how the affairs of her past have been grow more beautiful with age while the longing to return to them grows more painful. At the end of the play, Madame Armfeldt regrets turning away one of her lovers for giving her a wooden ring, lamenting the lost opportunity for true love. Desirée has a similar epiphany in “Send in the Clowns,” impeccably performed by Hoffman, where she finally exposes her true feelings to Fredrik before time passes them by again. After spending the play trying to recapture the past as a way to fix the present, she takes the leap into a future with Fredrik. When his responsibilities to Anne prevent him from jumping with her, Desirée ends the song with a defeated yet optimistic, “Maybe next year.” Time passes and things change. Things grow with time and they die with time. But perhaps the greatest power of time is the hope that the future brings, healing the wounds of the past and making the present an easier place to live.

  
  
Rating: ★★★
  
  

Kirk Swenk as Frederik and Jeremy W. Rill as Carl-Magnus in Circle Theatre's "A Little Night Music" by Stephen Sondheim

All images by Bob Knuth.

     

Continue reading

REVIEW: Best Little Whorehouse in Texas (Circle Theatre)

One small BIG thrill

 The Men of BLWIT

 
Circle Theatre presents
 
The Best Little Whorehouse in Texas
 
Book by Larry L. King and Peter Masterson
Music/Lyrics by Carol Hall
Directed and choreographed by Kevin Bellie
Music Direction and new arrangements by Josh Walker
Circle Theatre, 7300 Madison, Forest Park (map)
Thru June 20th (more info)

Reviewed by Katy Walsh

Whores, hookers, ladies of the evening, oh my! – prostitution is the oldest profession in the world and perhaps the most misunderstood. Circle Theatre presents The Best Little Whorehouse in Texas, a musical exposing the softer side of the sex trade industry. Based on a true story, a Texas amusement institution has provided adult entertainment over the centuries. During the depression era, pleasure seekers paid for thrills with poultry which led to the nickname, “chicken ranch.” The kind-hearted Michael Gravame and the boys madam, Miss Mona, operates a clean business focused on guest satisfaction. Her well-known establishment has the endorsement and protection of the local sheriff. All that changes, when a television reporter crusades to shut it down. The Best Little Whorehouse in Texas isn’t your street corner hooker production, however. It’s your high class call girl with impressive moves and a revolving wardrobe ensuring your fantasy investment reaps multiple benefits.

This show is all about the show. Twenty-five cast members with multiple costume and wig changes dress up this non-stop energetic production. Under the direction and choreography of Kevin Bellie, musical numbers are a visual spectacle. Bellie chooses to make The Best Little Whorehouse in Texas a love affair instead of a “quickie.”  Hookers to TV back-up singers to cheerleaders to reporters, Bellie uses a large number of the chorus in every scene. This choice adds dimensionality to the depth of the songs and dances. Going “Texas-style big” aids a few sound issues. For some of the solo singing moments, it’s hard to hear the lines. During “Little Bitty Pissant Country Place,” there is an awkward duet between Miss Mona and a guy in the band. Cue the chorus! When the whores chime in, the harmony is ecstasy. Whether it’s singing or dancing, the ensemble uses its size to go deeper. The synchronization of the large number of dancers on a small stage kicks it up to the “wow” factor. “The Aggie Song”, in particular, is sexy country-line dancing with an athletic vigor. It’s Dirty Dancing taken to a whole new level!

Anita Hoffman and Noah Sullivan Kirk Swenk, Gregory Payne and the ladies
Sheana Tobey, Snita Hoffman, Sydney genco and Toni Lynice Fountain Noah Sullivan, Christopher Boyd and Jen Bludgen

Along with the huge and talented chorus, principal players add to the entertainment value. Every hooker should be lucky to have a boss like Miss Mona (Anita Hoffman). Balancing maternal urges in a cheeky business, Hoffman commands the stage with a combo of sexy playfulness and compassionate wisdom. Not quite meshing into the frothy ensemble, Toni Lynice Fountain (Jewel) shines with a soulful rendition of the song “24 Hours of Lovin”.  Noah Sullivan (Sheriff Earl Dodd) delivers his irreverent lines with hilarious force. ‘If that three foot man comes back, I’m going to flatten him so he has to roll down his socks to shit.’ Michael A. Gravame (Melvin P. Thorpe) is a smarmy dolt mugging the comedic moment. The issue side-stepping politician, Kirk Swenk (Governor) makes a small part memorably funny. The entire cast whores itself out for the audience’s pleasure.

The extraordinary spectrum of costumes (Jesus Perez) and wigs (Michael Buonincontro) are a 70’s flashback of afro, peasant blouses, and Frederick’s of Hollywood fun. Costumes, cast, choreography; all the lubricated participants make this group orgy a love fest!

 
Rating: ★★★
 

Showtimes: Fridays & Saturdays @ 8:00 pm, Sundays @ 3:00 pm (buy tickets).  Group Rates for 10 or More Available.  Call 708-771-0700 for more info.

Running Time: Two hours and twenty minutes includes a ten minute intermission.

 The cast of BLWIT

Continue reading

Review: Circle Theatre’s “Little Women”

Holidays with the March Sisters

 The women of Little Women_11

Circle Theatre presents:

Little Women

adapted from the novel by Louisa May Alcott
directed by Bob Kuth
thru December 19th (ticket info)

review by Timothy McGuire

The women of Little Women_1 Circle Theatre offers another quality production of classic literature with their world premiere adaptation of Louisa May Alcott’s Little Women. This story is perfect for the holiday season and entertaining anytime of the year. The unselfish themes of giving and love along with warm naturally occurring musicals scenes create a performance that can be enjoyed by the whole family, as well as those other singles out there.

Circle Theatre’s production of Little Women is only based on part one of the series (so no, Beth does not die,) but it is still packed with plenty of drama and conflict to accompany the vibrant personalities of the March sisters. The four sisters are spiritually played by Laura McClain (Meg), Kieran Welsh-Phillips (Jo), Jill Sesso (Beth) and Abigail St. John (Amy.) They playfully tease but overwhelmingly cherish each others company. With their father away serving as Chaplain in the Civil War and their mother doing everything she can to support her husband and country, the four sisters bond together as they grow into their own individuals. The March Family is financially struggling (something many of us can relate to this holiday season) yet still finds ways to constantly support those around them in need and those they want to show they care. Besides the wealthy Aunt March, the whole family is inspired by the closeness between them, and their kind spirit is an inspiration to those that witness them as well.

The cast of Little Women_1The set is designed far more sophisticated than you see at even most of the best storefront theatres in the city. Bob Kuth (Director/ Scenic & Lighting Designer) has created the inside of the March home in Maine warm and delicately decorated for the winter season. The windows are covered in 19th-century drapes and a faded portrait of Mr. March hangs above the fireplace. In the back corner is the simple piano played by Beth to lighten the family’s mood and bring in some holiday cheer and the living room is complete with antique furniture for the family to join together for gossip and companionship. The staircase in back of the stage and second level leading to the door add depth to the large country house, and the performer’s ability to look beyond the audience and through the windows at a scene fictionally taking place off stage turn the small staging area into the open lands of Concord, MA.

Each actress and actor brings a special individuality to their character. The enduring qualities in each sister are brought out by the talented natural performances of each actress. I fell in love with Jo and her rebellious attitude and drive to go after he own desires. Each individual performance in the play strengthens the connection you feel with the relationships that are being formed. Watching this family evolve and connect with their characters can naturally bring out a loving emotional connection to your own family, and that is what the holidays are all about.

Rating: ★★★

 

At Circle Theatre, 7300 W. Madison, Forest Park, IL, call   708-771-0700, www.circle-theatre.org, tickets $20 – $24 ($2 off for seniors/students), Fridays at 8 pm, Saturdays at 3 & 8 pm, Sundays at 3 pm, running time is 2 hours, 15 minutes with intermission.

FEATURING: Kevin Anderson • Peter Esposito • Eileen Ferguson • Anita Hoffman • Laura McClainJeremy MyersBrian Rabinowitz • Mary Redmon • Jill Sesso • Abigail St. John •  Kieran Welsh-Phillips.

The company of Little Women_1