REVIEW: The Wedding Singer (Circle Theatre)

 

A Sweet Wedding Confection

 

 

Wedding Singer (L-R) Kelli LaValle, Patti Roeder, Eric Lindahl, Rachel Quinn, Nathan Carroll and Shawn Quinlan. Photo by Bob Knuth.

   
Circle Theatre presents
   
The Wedding Singer
   
Book by Chad Beguelin and Tim Herlihy
Music/Lyrics by
Matthew Sklar and Chad Beguelin
Directed by
Kevin Bellie
at
Circle Theatre, 1010 W. Madison, Oak Park (map)
through October 31  |  tickets: $26   |  more info

Reviewed by K.D. Hopkins

I must make a shocking confession. I have never seen the film “The Wedding Singer”. I have however lived through the 80’s and still have the bag of removable shoulder pads to prove it. The Circle Theatre musical production of The Wedding Singer is a fun romp through the decade that was all about froth and hair looking like spun sugar. The creators – Chad Beguelin and Tim Herlihy wrote the book of the movie with music by Matthew Sklar and Beguelin have done a brilliant job bringing this 80’s-sounding score to life. 

Wedding Singer - Eric Lindahl and Rachel Quinn. Photo by Bob Knuth. Eric Lindahl plays our hero Robbie Hart with none of Adam Sandler’s snark. That is precisely why I liked him so much in this role. It is a tribute to the time when musicals were all about a girl and a guy up against the odds and winning. Lindahl has a good voice and sings the wedding schmaltz as well as the arena rock ballads. Rachel Quinn plays leading lady Julia Sullivan. Ms. Quinn has the moves to play the heroine but her voice is not made for pop music. She is reminiscent of the Rogers and Hammerstein era of musicals and does well as the bereft heroine.

Blowing the lid off of the power ballads are Kelli LaValle and Britni Tozzi. Ms. Tozzi plays bad girl Linda who channels Pat Benatar while giving Robbie Hart the heave ho. I absolutely adored Ms. LaValle as the slightly trampy best friend Holly. She is dressed in classic tulle layers and spun sugar hair- so unlike a virgin. It is a standout performance and LaValle has a powerhouse voice that rocks the rafters.

The storyline is not a surprise but it is still fun. Robbie Hart is the leader of a wedding band called ‘Simply Wed’ who gets his heart broken and falls for the local banquet hall waitress. The waitress is of course waiting for a dual-life jerk executive to put a ring on it and keep her in claw hair and sparkly duds. Hart lives in Grandma’s basement somewhere in Jersey and what a grandma she is. Patti Roeder plays the role of a frisky grandmother who pulls out the rapping chops to great comic effect. Roeder brings down the house with her double entendres and libidinous one- liners.

 

(L-R) Dennis Schnell, Michael Mejia, Nathan Carroll, Eric Lindahl, Shawn Quinlan, Tommy Bullington, Jimmy Lis and Tommy Thurston The Impersonators of The Wedding Singer - Photo by Bob Knuth
Wedding Singer (L-R) Toni Lynice Fountain, Michael Mejia, Rachel Quinn, Melody Latham and Patti Roeder Wedding Singer - (L-R) Nathan Carroll, Eric Lindahl and Shawn Quinlan

Making up the rest of ‘Simply Wed’ are Nathan Carroll in full ‘Flock of Seagulls’ regalia and Shawn Quinlan as a Boy George clone. They are very funny and touching in their bromance roles. Jim DeSelm rounds out the leading cast as Glen the blazingly arrogant Wall Street raider. He leads a fine song about money and greed as his character shows his true colors.

The rest of the cast is stellar. They are really good dancers, and the choreography by Director Kevin Bellie is great nostalgic fun to watch. The Las Vegas scenes are hysterically surreal with a cornucopia of classic characters as Vegas impersonators. This goes way beyond Elvis and deep into ‘Behind the Music’ territory with Patti Labelle, Michael Jackson, Billy Idol, Imelda Marcos (!) and a brilliant cameo by Dennis Schnell as Sam Kinison.

The Wedding Singer is well worth the travel to Oak Park.  Don’t miss it!

   
   
Rating: ★★★½
  
  

FYI: I would advise getting there early to have dinner before the curtain because the sidewalks roll up in Oak Park at 10pm.The Wedding Singer runs through October 31st at The Performance Center, 1010 W. Madison St. in Oak Park (map). Go for some great music, laughs, romance, memories, and great ideas for Halloween! The Performance Center is accessible by Metra as well as the CTA Green Line. Shoulder pads and claw hair are optional.

Wedding Singer (L-R) Sarah Conrad, Rachel Quinn, Kelli LaValle, Kendle Lester, Kristen Calvin and Britni Tozzi

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REVIEW: The Marriage of Bette and Boo (Village Players)

A reverent treatment of Durang’s classic American play

 

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Village Players Theater presents
 
The Marriage of Bette and Boo
 
by Christopher Durang
Directed by
Dan Taube
at
Village Players Theater, 1010 W. Madison, Oak Park (map)
through June 27  tickets: $20-$25  |  more info

reviewed by Aggie Hewitt

Oak Park’s Village Players Theater is closing out it’s season of “New American Classics” with The Marriage of Bette and Boo, Christopher Durang’s 1985 tragicomedy about a son reliving the painful memories of his parents marriage. Known for being a personal and autobiographical work, The Marriage of Bette and Boo is so popular for it’s sharp black humor and piercingly intense characters that it’s  become almost cliché. It’s the source of the “lost babies” monologue, a piece so rich with nuance, depth and wit that it’s made its way onto “do not use” list of many acting classes because of overuse.

DSC01487It’s no wonder that actors are drawn to Durang’s work. Bette and Boo has amazing characters, from Emily, the neurotic aunt who is full of self loathing and eagerness to apologize for transgressions she hasn’t committed – played by funny and energetic Megan E. Brown, to the hilariously contemptible priest, who’s just so over having to help his stupid parishioners (Dennis Schnell, whose priest monologue is a show stopper, on the night I saw him it received applause).

With a talented cast and a winning play, there was little director Dan Taube could have done to mess this production up and in fact, he enhanced it. Taube brings out the sadness in this work, lifting the veil of levity in every scene. Although it is a fast passed play, Taube does not shy away from taking time when it is needed to shine a spotlight on an emotional moment. Dan Taube’s direction is the invisible kind: one doesn’t really notice any direction at all, only the story that he has facilitated.

25 years after it was written, The Marriage of Bette and Boo is still a challenging piece of theater. The manic style in which it is written, and the darkness of its subject matter, make it at times difficult to watch. It also feels, well, dated. In 2010 it is no longer en vogue to deliver highly academic, sardonically funny monologues about how much one hates one’s parents (unfortunately). Stephanie Sullivan is an unsympathetic Bette, leaving one to feel that this play might just be a two-and-a-half hour long complaint about Christopher Durang’s mother. Sullivan is a strong actress, and when she is able to find moments of humanity in Bette, they are poignant and lovely (most notably in the aforementioned “lost babies” monologue) but the character – a mother who relentlessly demands to be impregnated, only to drag her family through hell with still births again and again – is as hard for the audience to love as it is for her narrating son.

Modern audiences might feel as if they are watching a very 1980’s dramady with this production, which is extremely well done but does little to innovate or modernize this “new American classic.” Most notably, the set, designed by Annette Vargas, has a super 1980’s feel. Three tall panels are designed with a brightly-colored square pattern that looks like neon stained glass. It’s pretty, and old fashioned looking, and yet somehow it works.

This Village Player’s stuck-in-the-past production is fitting – how for a play about remorse, loss and memory. How something like The Marriage of Bette and Boo could be contemporized would be a challenge. The play seems destined to stay in the 1980’s, to remain a living monument to the year of its creation. Whether or not Dan Taube is correct when he says, “One day people will look at Durang’s body of work and the innovation and the vision and put him in a class with American masters like O’Neill and Williams,” this production, presented with the loyalty and reverence of a period piece, surely supports that hypothesis.

 
 
Rating: ★★★
 
 

BetteBooweb

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REVIEW: Mud (Village Players)

An update on Tobacco Road

 mud2

 
Village Players presents
 
Mud
 
by Maria Irene Fornes
directed by Lawrence Keller
at
Village Players Theatre, 1101 W. Madison, Oak Park (map)
thru April 25th |  tickets: $15-$20 |  more info

reviewed by K.D. Hopkins

The opening action of  Mud features the character of Mae (Stephanie Ganacoplos), a woman burdened by the weight of the laundry that she carries and by the harsh conditions in which she lives. When Lloyd (Nick Bonges) enters, his role is uncertain – is he her husband, another relative, a boarder?  Bonges plays the role of Lloyd with an atavistic ferocity as bounds into the scene and stares at Mae while she irons. The scene – spare on dialogue, save for a terse exchange of expletives – crackles with a dangerous sexuality.

It is eventually discovered that Mae’s father brought Lloyd to the home as a child. He was supposed to be company for Mae and in some fashion a future spouse. However, the father died and the children were left to raise themselves in poverty and illiteracy. Mae is the first to step out and try to learn arithmetic, leaving Lloyd to animal husbandry with the pigs. What follows is an excellent exploration of servitude, poverty, and the struggle for power in domesticity.

mud Having matured without adult guidance, Mae and Lloyd are accustomed to running on instinct. Mae’s sexuality is ripening and unrequited, as Lloyd has found sexual release in bestiality. The excellent timing and nuance of the actors temper the shocking revelation that Lloyd is having relations with a pig, and we’re not meaning a female slob. When it comes to human relations, Lloyd is impotent and an unfortunate venereal prostate disease has given him a constant fever.

Mae recruits a classmate from her arithmetic class, Henry (Dennis Schnell), to read the pamphlet on venereal disease to Lloyd, which hopefully will convince Lloyd to get some medicine. Schnell’s first scene is quite funny as he portrays Henry as a pompous stiff who can read big words. Henry believes that pronouncing the words will make people believe he knows what they mean. This sequence sets up the dynamic between the three of them, making Lloyd continuously suspicious and on guard. He is more worried that his portion of food will be compromised. Mae is enthralled by Henry’s knowledge of words and they begin a sexual relationship.

Lloyd is told that he can make a pallet on the floor from newspaper. It is similar to what he does for his swine. Mae has already compared him to pigs and wished that he would die and rot in the mud. Her frustration and desire lead her to believe that Henry will free her from the dirt. Lloyd shows himself to be more astute that believed when Henry has a stroke. He has the upper hand and Henry’s care is delegated to him but both men are shown to be dependent and ignorant. They tether Mae to the house, the marital bed, and the mud.

Mud is written by Maria Irene Fornes and is featured as part of the Village Players Theatre “Women on the Cutting Edge” series. The dialogue is beautifully written and lends itself to varying degrees of interpretation. My theatre companion for the evening was disappointed the actors did not have country accents, though it could be said that the scenes prove to be much more visceral without accent – this dire situation could surely take place in urban America just as much as the boondocks. Affecting ‘country’ accents would have put too much Erskine Caldwell in the mix.  Though the action seems to take place in the 1930’s, it could be in present time as well. How often are we supposedly shocked at tales of lurid sex and unusual relationships on the evening news? Or worse, inured to tabloid adventures of the local citizenry (especially if they’re famous!).

Kudos to Annalee Johnson for her set design and props – both superb. The props look authentic down to the washing bowl made of distressed zinc. I cringed every time the character of Lloyd would soak a rag in the water and suck on it to cool his fever. Though counterintuitive, it takes talent to create a palpable feeling of dust, sweltering heat, and despair in the set design.

Applause is due to director Lawrence Keller for excellent staging and pacing of what could have been melodramatic or overwrought. This series is dedicated to showcasing women writers or women characters with an edgy sensibility. Mae is a woman on the edge and punching her way out of an untenable situation. The ending left me shaken even though I knew what was coming. The actors created a fever pitch unsullied by self-awareness. All three actors were amazing and completely consumed by the characters. The surprise was that they could shake off the characters to smile when they took their bows.

 
 
Rating: ★★½
 
 

“Mud” plays through April 25th at Village Players Theater 1010 Madison Street in Oak Park. Call the box office at 866-764-1010 or go to www.village-players.org for ticket information. The theater is easy to reach by public transportation or Metra. It is worth the field trip to the suburbs.

"Mud" stars Nick Bonges, Stephanie Ganacoplos, and Dennis Schnell. Designers include Annalee Johnson (set/props) and Emma Weber (costumes). Kelly Herz is stage managing.