Review: The King and I (Porchlight Music Theatre Chicago)

     
     

Getting to love you

     
     

Brianna-Borger and Wayne Hu

  
Porchlight Music Theatre Chicago presents
  
The King and I
  
Written by Richard Rodgers and Oscar Hammerstein II
Directed by L. Walter Stearns
Music Directed by Eugene Dizon
at Stage 773, 1225 W. Belmont (map)
through June 5  |  tickets: $35  |  more info

Reviewed by Lawrence Bommer

L. Walter Stearns’ final staging for Porchlight Music Theatre (he’s moving on to manage the Mercury Theatre) is a splendid swan song. Efficient but never merely dutiful, this tender-loving revival of Rodgers and Hammerstein’s 1951 treasure lets the talent on this stage honor the brilliance on the page. Despite lacking the budgets of Marriott Theatre’s 2000 revival or the most recent one at Drury Lane Oakbrook in 2007, Porchlight never allows less to be lacking.

Erik Kaiko as Lun Tha and Jillian Jocson as Tuptim - King and IBesides, look at what they’re working with! It’s rewarding how much the R & H musicals amplify each other, yielding a whole much bigger than its parts. In The King and I we see a British schoolteacher who changes the children around her and shapes the future through her enlightened tutelage of the Crown Prince of Siam. Anna Leonowens anticipates Maria Von Trapp, an Austrian governess who changes the children and around and escapes the present to pursue the sound of music. Likewise, Flower Drum Song carefully chronicles the cultural changes in a community. Above all, like South Pacific, King and I delivers an action lesson in tolerance. Anna and the King learn from each pother, he forbearance and humility before the facts of life, love and death, she the discipline and tradition required to keep a nation together and, more importantly, unconquered.

The closest comparison outside the R & H canon is, interestingly, Fiddler on the Roof: Both musicals deal with central characters coping with change during convulsive historical periods, desperate to preserve tradition (and power) while wryly accepting the future, as much on their terms as possible.

The King’s transformation (and, by implication, that of Siam) is accomplished in stunning songs like “Getting to Know You” and “Shall We Dance?” that win us over from the first note. Well worth the succession from Gertrude Lawrence to Deborah Kerr to Donna Murphy, Brianna Borger’s warmly engaging Anna brings quicksilver resilience and five different kinds of love to her widow, mother, tutor, confidante and lover. Her patter songs, “Shall I Tell You What I Think of You?,” crackles with contagious indignation and hard-core spunk. The first Asian I’ve seen playing the King, burly Wayne Hu stamps the King with wizard timing, wry irascibility and bedrock dignity. The fact that he’s no infallible leader only makes his aspirations to authority more poignant and less threatening.

It’s impossible to overpraise Jillian Anne Jocson’s lovely and lyrical Tuptim, enchanting in “I Have Dreamed” and “We Kiss in Shadow” with ardent Erik Kaiko as her doomed beloved, or Kate Garassino’s elegant Lady Thiang, wisdom wrapped in reticence. The Siamese wives and children (here reduced to six) are marvels of grace in energy and as comely as a palace frieze. Likewise Bill Morey’s elaborate Eastern costumes, their shimmering and sumptuous fabrics lit by Mac Vaughey with what must be new colors, and Ian Zywica’s unit set with its Oriental throne room, filigreed archways, and burnished floor. (Flanking the king are dualistic symbols of East and West—a chess set and a statue of the Buddha.) Brenda Didier’s choreography, faithful to Jerome Robbins, turns “‘The Small House of Uncle Thomas’ Ballet” into a cascade of astonishment and artful reinvention.

For purists like me there’s one cavil: This revival’s two-piano accompaniment, however beautifully played by Eugene Dizon and Allison Hendrix, is nonetheless a letdown, robbing the songs of the rich orchestrations Rodgers intended. Less crucial, the delightful scene in which the ladies of the court try to maneuver inside European crinoline ballgowns and corsets is necessarily omitted. But new to me is the royal school’s anthem sung by Anna and her princely pupils, as well as a charming reprise of “A Puzzlement” sung by the sons of the principals that extends the cultural clash to the next generation. You win some, you lose some.

  
  
Rating: ★★★
  
  

Brianna Borger, Dylan Lainez, Tatum Pearlman, Lydia Hurrelbrink

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Review: Meet John Doe (Porchlight Musical Theatre)

     
     

‘John Doe’ Gets the Job Half Done

     
     

MJD--Jim Sherman (Connell) and Sean Effinger-Dean (Beany)

  
Porchlight Music Theatre presents
   
Meet John Doe
  
Music/Book by Andrew Gerle
Lyrics/Book by
Eddie Sugarman
Directed/Choreographed by
James Beaudry
at
Stage 773, 1225 W. Belmont (map)
through April 17  |  tickets: $38  |  more info

Reviewed by Paige Listerud

Nothing sets the tone for Porchlight Music Theatre’s Meet John Doe like its foreboding, expressionist set design (Ian Zywica). Stage right, a bold graphic sticks out from a wall of newsprint: “JOBLESS MEN KEEP MOVING–We can’t take care of our own.” Now, if that doesn’t lock and load your head for a Depression Era period piece, nothing else will. Andrew Gerle (music) and Eddie Sugarman’s (lyrics) musical follows through with ample period perfection–from driven pace, to musical style, to its tough and cocky dialogue. James Beaudry’s direction accents the production’s expressionistic edge, framing the action, whether in crowd scenes or backroom MJD--Karl Hamilton (John Doe) and Elizabeth Lanza (Ann Mitchell)conferences, so that the show’s language hits right between the eyes about our own desperate political and economic plight. Fabricated news stories, populist heroes spun out of thin air, media manipulation of the masses by cynical moguls–and a down and out populace looking for any flicker of hope to lead them. Everything old is new again.

Porchlight could not have picked a timelier musical. In some ways, it contains improvements on Frank Capra’s 1941 film. For one, the musical’s Ann Mitchell (Elizabeth Lanza) is a much tougher, moxie-er, foxier newshound than her original film version played by Barbara Stanwyck. Given the pink slip during her newspaper’s takeover and transition to the New American Times, Ann submits her final column with a fake letter from “John Doe”—a man so sickened by the current economic downturn he threatens to commit suicide in protest by jumping off a bridge on Christmas Eve. Lanza has the voice, the sass and the legs to pull off her role and she’s not afraid to use them—a point she more than drives home with the song “I’m Your Man.”

Once circulation jumps in response to the letter, Ann restores her job by devising a whole series of columns based on John Doe. Out of a mass of jobless men, she and her world-weary editor, Connell (Jim Sherman), pick out a former bush league ball player to be their John Doe (Karl Hamilton). Hamilton definitely brings that Everyman vibe that they—and we–go for, but it’s his rich tenor voice that awakens sympathy and warmth to John Doe’s reintegration into showered, shaved and employed life once more, with “I Feel Like a Man Again.”

Unfortunately, for all the attention it has gained at Ford’s Theatre in 2007 with seven Helen Hayes nominations and with the 2006 Jonathan Larson Award, Meet John Doe still feels half finished. The first act is a beauty. Beaudry’s direction builds its tension with consummate skill and his taut cast carves its dramatic arc in expressionist stone. From the opening moments, where the terror every newsman has for his job is quite palpable – to John Doe’s escape from his first public speech – the first act is non-stop, smart and tough entertainment. In between, Lanza and Hamilton solidly sketch the growing relationship between Ann and John, while John’s hobo friend, the Colonel (Rus Rainear), adds much needed salt to the proceedings. Finally, even with a limited voice, Mick Weber gives us a smooth MJD--Elizabeth Lanza as Ann Mitchelland seductive menace as D.B. Norton, who sits atop of his new newspaper like an American Silvio Berlusconi, ready to manipulate John Doe’s image to further his political ambitions.

It’s the second act that doesn’t know where to go with this build-up. In part, this has to do with over-reliance on Capra’s plot.  In other sections, however, Gerle and Sugarman’s book diverges from it counter-intuitively. Capra himself changed the ending to his film five times before he settled on its own muddled and unsatisfactory finish. Suffice it to say that suicide, far from being painless, is actually a downer, whether for a musical’s uplifting final moments or for a real-life social movement. Therefore, John Doe’s final self-sacrificing act might make psychological sense for the character, but not for the unity of the crowd after he does it. Act Two contains choice moments, like Connell’s gorgeous reminiscence of his WWI army service with “Lighthouses” or the verbal hits John Doe delivers against Norton’s cadre of privileged, slime-ball cronies. But on the whole, it’s rewrite time once again for this plotline. Time once again for John Doe to re-create himself—let’s hope for his sake, and ours–that that he gets it right.

  
  
Rating: ★★½
      
  

MJD--Elizabeth Lanza (Ann Mitchell) and Jim Sherman (Connell)

All photos by Johnny Knight

           
           

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REVIEW: Sunday in the Park with George (Porchlight)

 

Porchlight’s ‘Sunday’ doesn’t quite put it together

 

Cast of Sunday in the Park With George

   
Porchlight Music Theatre presents
   
Sunday in the Park with George
   
Music and lyrics by Stephen Sondheim, book by James Lapine
Directed by L. Walter Stearns, music direction by Eugene Dizon
Stage 773, 1225 W. Belmont, Chicago (map)
Through Oct. 31  | 
Tickets: $38  |   more info

Reviewed by Leah A. Zeldes

"His touch is too deliberate, somehow."

That lyric, from the 1984 Tony Award and Pulitzer Prize-winning Sunday in the Park with George, might well describe Porchlight Music Theatre Director L. Walter Stearns’ uneven revival, which somehow fails to connect the dots of the Stephen Sondheim musical.

Sondheim James Lapine’s imagined backstory behind 19th-century painter Georges Seurat’s pointillist masterpiece "A Sunday on La Grande Jatte" (now housed at the Art Institute of Chicago) has only a tangential relationship to the real biography of the groundbreaking neoimpressionist whose early death deprived the art world of what surely would have been a brilliant career. Instead it concentrates on the troublesome issues of balance between art and life, work and relationships, ambition and practicality.

The artist calls for "Order. Design. Composition. Tone. Form. Symmetry. Balance" — elements that can make or break any work of art. This imbalanced production falters under too much design and not enough tone.

Hidden behind the scenes, Music Director Eugene Dizon on piano and his orchestra — Carolyn Berger, violin; Michelle Lewis, cello; Allison Richards, viola; Patrick Rehker and Derek Weihofen, woodwinds; and Jennifer Ruggieri, harp — do a stellar job with the music. Unfortunately, many of the singers don’t measure up.

Amanda Sweger‘s massive backdrop and Liviu Pasare‘s distracting video projections overwhelm the small stage and the cast as well.

Brandon Dahlquist ably captures George’s sensitivity and absorption, with an expressive face that suggests the real Seurat’s soulful looks and a fine tenor. Yet too often he’s obscured behind the scrim or facing away from the audience. (John Francisco will take this role for the final three weekends of the run.) Seurat’s painting may be the subject of the play, but we really don’t need to see it all the time. An empty stretcher would have conveyed the idea of the work just as well and allowed us to see the actor’s face.

On the other hand, Jess Godwin’s passion is all in her face and rarely in her singing. Playing George’s lover, Dot, the animated and lovely Godwin displays an almost palpable yearning for the artist. The slender redhead bears no resemblance to the Seurat’s actual mistress, Madeleine Knobloch (the buxom subject of "Young Woman Powdering Herself"), which doesn’t matter, but her voice often sounds as thin as her figure, and that does.

Several members of the supporting cast put in excellent performances, however. Sara Stern is superb as George’s peevish, elderly mother. Her fabulous version of "Beautiful" is the highlight of Act I. Sarah Hayes and Daniel Waters do a hilarious job as the unhappy American tourists. Bil Ingraham and Heather Townsend are aptly haughty as the successful painter Jules and his wife, Yvonne, delivering tittering pronouncements on George’s work in "No Life," and Michael Pacas makes a wonderfully wry and full-voiced boatman.

The second act, which jumps forward to a modern artist, also named George — a fictional great-grandson of Seurat — seems much stronger, as if the cast and crew felt more comfortable in the 20th century. Dahlquist, now fresh-faced and beardless, is out in front here. But Godwin, now portraying George’s grandmother, sings "Children and Art" so softly she’s nearly inaudible.

Sunday is one of Sondheim’s more challenging musicals. Porchlight would have done much better to concentrate on the essentials of light and harmony instead of reaching for the heavy design elements that weigh down this production.

"Art isn’t easy, no matter how you look at it."

   
   
Rating:★★
   
  

Benefit Concert

Porchlight Music Theatre hosts a benefit concert, "By Popular Demand," at 7:30 p.m. Monday, Oct. 11, at Mayne Stage, 1328 W. Morse Ave., Chicago (map).

In Act I, singers Jayson Brooks, Sean Effinger-Dean, Nick Foster, Jess Godwin, Lina Kernan, Ryan Lanning, Bethany Thomas, Joseph Tokarz and others perform. At intermission, the audience votes to determine who’ll return to sing again in Act II.

Tickets are $40. Two votes are included with your admission. Each additional vote costs $1 and supports new talent, new works and new productions at Porchlight.

REVIEW: Into the Woods (Porchlight Music Theatre)

Enchanted cast serves up skewered storybook characters

 Jeny Wasilewski as Little Red Ridinghood, Henry Michael Odum as Narrator, Steve Best as The Baker

 
Porchlight Music Theatre presents
 
Into the Woods
 
Book by James Lapine
Music/Lyrics by
Stephen Sondheim 
Directed by
L. Walter Stearns
Music Direction by Eugene Dizon
at
Theatre Building Chicago, 1225 W. Belmont (map)
through May 30th | tickets: $38 | more info

By Katy Walsh

What happens after happily everafter? What is next after Cinderella gets married, Jack kills the giant, Rapunzel has short hair? Porchlight Music Theatre presents the Tony Award-winning musical, Into The Woods. The baker learns his witch-of-a neighbor has cursed him with infertility. To break the barren spell, the baker is instructed by the  Rachel Quinn as Cinderellawitch to produce a red cape, golden slipper, white cow and blonde hair strands. He and his wife go into the woods to secure the hex-breaking ingredients. Among the trees, they find storybook characters struggling with their own predetermined storybook ending. Into The Woods intersects multiple fairytale classics to create non-traditional ever-afters.

The set designed by Ian Zywica establishes the woods location. Although the five piece orchestra is visibly on stage, they vanish just beyond a hill and bramble. Center stage is a large full moon-shaped screen doubling as forest projections and shadowboxing scenes (designed by Liviu Pasare). The multi-media effect adds a mystical quality for dead people speaking or being regurgitated. Although simplistic, it has all the makings for a magical forest for close encounters of the fable kind.

Under the direction of Artistic Director L. Walter Stearns, the talented ensemble cast are enchanting(!). Bethany Thomas (witch) is spellbindingly marvelous belting out the punch line and song. Her rendition of “Children Will Listen” is an inspiring memorable moment. With exaggerated prince-like debonair, Cameron Brune and William Travis Taylor are hilarious leaping in and out of scenes. Their double duet of “Agony” is suave buffoonery, as Taylor quips, “I was taught to be charming not sincere.” Although sometimes overpowered by the band, Jeny Wasilewski (Red Riding Hood) sings and skips with spunky determination. Channeling Amy Adams’ “Enchanted” performance, Rachel Quinn (Cinderella) is a wistful and underwhelmed target of the prince’s affection. Steve Best and Brianna Borger (Baker/Baker’s Wife) sing an amusing duet of marital expectations. The large cast adds harmonious voice to the finale… both of them.

Cameron Brune as Rapunzel's Prince and William Travis Taylor as Cinderella's Prince Cameron Brune as The Wolf and Jeny Wasilewski as Little Red Ridinghood
Henry Michael Odum as Mysterious Man Steve Best as The Baker and Brianna Borger as The Baker's Wife Rachel Quinn as Cinderella and Jeny Wasilewski as Little Red Ridinghood

Initially, Into The Woods is a clever and witty flashback to childhood stories. In a ninety minute first act, playwright James Lapine succinctly intertwines various fairytales with additions of each character’s back story. The happily-ever-after finale is amusing, satisfying and surprising. The projected words “to be continued” initiates a program book revisit. Apparently, something does happens after ‘happily ever after.’ Act II starts where the traditional fairytale ends. The results are less than whimsical with a giant’s village domination, philandering spouses, and serial killing. It’s a harsh twist for following your dream. Sure, there are adult lessons to be learned about the consequences of pursuing your heart’s desire. It’s called reality. I prefer to keep my childhood heroes in a perpetual state of Act I make believe.

 
   
Rating: ★★★
    
    

 

Kristen Leia Freilich as Jack's Mother and Scott J. Sumerak as Jack Bethany Thomas as The Witch

 

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Review: Porchlight’s “Miracle on 34th Street”

A Retro Christmas Miracle

 

Porchlight Music Theatre presents:

Miracle on 34th Street

Adapted by Patricia DiBenedetto Snyder, Sill Severin and John Vreeke

Story by Valentine Davies
Screenplay by George Seaton
directed by
L. Walter Stearns
thru January 3rd, 2010 (ticket info)

Reviewed by K.D. Hopkins

MIRACLE ON 34th STREET--Santa and Susan I have to admit to a bit of “Scrooge-ism” when it comes to the holiday season in America. The commercials, the billboards, the store windows dressed in fiberglass snow and plaid carolers when I am still finishing Halloween candy stuffed in the bottom desk drawer- you get the idea. I managed to get into the spirit in spite of myself. I got a visit from a little angel in the form of my niece Alexandria. She is a very precocious seven years old who likes spiders. Porchlight Theatre’s publicity for Miracle on 34th Street stated that this was the perfect first theater experience for children and would become a holiday tradition. I am happy to say that the publicity was right.

This production of Miracle on 34th Street is from the Porchlight Music Theatre Company. They are known for classic productions as well as new interpretations of musicals. This is already a classic film and now it has been excellently translated to the stage. The moment that Kris Kringle’s sleigh appears on the stage is when the magic begins. A veritable toyland pops out of Santa’s big red sack and performs to start the play. We are then told that this Santa is a lucky replacement for the other guy who showed up drunk. The twist is that this Santa believes that he is the real thing. It is a tale that we all know from afternoons around the television or at the repertory movie house.

Christa Buck plays the cynical 1940’s career woman Doris Walker. She is all business and doesn’t have time for the fantasy that is Christmas. She also has little patience for the complications of romance that shows up in the form of Fred Gailey played by Karl Hamilton. They both seem to have stepped out of a Technicolor production. The entire cast is a step back in time and that is perfect for this production. The cynicism of Doris Walker and her daughter Susan is born out of divorce and abandonment issues. That is my modern interpretation but the portrayals are embodied with the post-war innocence of the 1940’s. Somehow everything works out in America if you only believe. It’s a beautiful idea whose time is coming around again. The part of Susan Walker is played by Laney Kraus-Taddeo. She is another talented product of the Piven Theatre Workshop in Evanston. Ms. Kraus-Taddeo doesn’t hit any false notes or project any of the treacle that is the risk of any child actors. All of the children in this production are a delight to watch. The play makes room for a child in the audience to talk to Santa on stage. It was a funny moment with an untrained participant who asked for Christmas lipstick. Your guess is as good as mine as to what that is but Jim Sherman as Kris Kringle played right along with jolly humor.

I have to say that it was the performance of Jim Sherman that really put me in the Christmas spirit. He has the sparkle and the charm that – for me – embody Santa Claus. He wears a suit that is more in the tradition of Father Christmas or Sinter Klass from the Netherlands. Even when he was clad in layperson’s attire he looked like Santa. I also enjoyed the character of Mr. Macy played by Chuck Sisson. I’m a girl who grew up on Mr. Drysdale, Mr. Mooney, and Thurston Howell III. There is a certain carriage and technique to carrying off the bluster of such a character in my opinion and Mr. Sisson has it much to my enjoyment.

The entire cast is a joy to watch in Miracle on 34th Street. The supporting villain character of Mr. Sawyer is played with relish by Rus Rainear. Like the movie, Mr. Sawyer is a ferret-like guy who almost kills Christmas while in cahoots with the ambitious District Attorney played by Steve Tomlitz.

Suspense! Romance! Knee Slapping Laughs! It was a great way to spend a Sunday afternoon. Most importantly, it passed the “Alexandria Test”. My niece Alexandria was enchanted the moment the action began. That is saying something considering that we had been to Uncle Fun and bought a “can of salted nuts” which contained three fake snakes. Lexie was all about the snakes until Kris Kringle and the music began. She also got to take a picture with Santa on the stage after the play that was a big thrill. “Auntie Kathy! I got to see Santa Claus and be on the stage!”

You have to bring your own camera and resist the urge to want to sit on Jim Sherman’s lap yourself. I’m telling you, the guy took me back to 1965 when I really believed.

 

Rating: ★★★½

 

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Review: Porchlight’s “The Fantasticks”

The Fantasticks disappoints more than it thrills

Fantasticks-8

Porchlight Theatre presents:

The Fantasticks

by Harvey Schmidt and Tom Jones
directed by Sean Kelly
through November 15th (buy tickets)

reviewed by Timothy McGuire

 Fantasticks-7 The 1960 musical The Fantasticks, the longest running performance in American theatre history (almost 50 years!), was built-up to be spectacular production. Every musical theatre actor I know wanted to be a part of Porchlight Theatre’s production and long time musical fans praised The Fantasticks as a must see musical in Chicago. However, this production, now playing at Theatre Building Chicago, is a disappointment.

The story is about two innocent kids: Matt (Sean Effinger-Dean) and Luisa (Emma Rosenthal,) who naively fall in love due to the manipulation of their fathers. Knowing that all kids will do the exact opposite of what their father wants them to do, the fathers: Hucklebee (Dan Ferretti) and Bellomy (Ryan Lanning). pretend to despise each other and forbid Matt and Luisa from interacting. They insult one another in front of their children and build a tall fence to separate the two young neighbors. Of course, now that their interaction is forbidden, the two seek out each other’s company and there is a new passion that fills their shared moments. The fathers then plan their ultimate bizarre plan to bond the two lovers in marriage, but it all blows up in their faces when the kids realize that they have been manipulated. But don’t fear, all seems to work out in the end.

The set is cold and bare (maybe this is a  common element for the show), leaving the backyards of Matt and Luisa up to our imagination. The blue lighting softens the set a little bit, and being able to watch the pianist and Harpist play in the back of the stage provided the only magical romantic feeling to the scenery.

Fantasticks-5

Fantasticks-9

Fantasticks--6

 

The story is filled with catchy songs with fun satirical lyrics and beautiful accompaniment by the pianist and harpist. The vocal talent on stage is top-notch. The song “Try To Remember” is absolutely one of my favorites from any musical I have seen. I am still singing it in my head and, lucky for me, I can still hear Jeff Parker’s (El Gallo) soothing voice singing it. Unfortunately, the quality of songs is lost in the randomness of the choreography. The characters flit around in dance moves that have nothing to do with what the songs are about, adding nothing to the words or the feeling of the songs. At one point it looks as if jumping-jacks are substituted for actual dance. The bare stage offers the opportunity for the choreography to add to the play’s atmosphere and provide the emotion behind the music, but this opportunity is missed, coming off as childish fun.

Additionally, individual character development is lacking. There is no chemistry on stage – so there is a lack of believability to the emotional moments between Matt and Luisa. Many times Luisa appears to be pretending to have feeling for Matt, rather than truly falling in love with the boy in front of her. Luisa’s character is oddly cast. Emma Rosenthal’s voice, although beautiful, was too powerful and makes Luisa sound too womanly and older than her character. Ms. Rosenthal’s movements project a resolute maturity that surely would be lacking in a teenage girl – her strength then does not match up with the shy boy she is supposed to be fantasizing about.

Fantasticks-3 Sean Effinger-Dean’s character, however, is thoroughly enjoyable. Matt is not the typical “pretty boy” that may be found in a commercial love story. A 22-year old biologist, Matt sings and acts with the insecurity and social awkwardness that a 22 year old who is in love with a teenage girl would have. His role might not be as charming as it could have been, but the portrayal of the immaturity in a 22 year old boy is thoroughly convincing.

Jeff Parker’s El Gallo brings the only inspiring dramatic moments and sense of continuity to the play , but my favorite character in the play is the elegant mute (Tanya McBride).  Her subtle additions to the staging help create the feelings that surround the play, and it is incredible to witness her expressive face and fluid balletic movements, providing more magic to the stage than the interaction between characters.

This production makes one question the relationship between the two fathers. Do they have a fondness for each other beyond friendship? Do they want their offspring to marry just so that they can share a sense of a domesticated relationship they could not achieve in their current situations, or did their characters just lack the masculinity that I expected from a play written in the 1950’s?

I am skeptic when it comes to musicals (I don’t enjoy the fluff,) but I have seen good musical theatre and this is not it. This play has been successfully performed well for over 40 years, so the book would seem strong, so don’t turn your back on The Fantasticks as a whole, just this production.

Rating: ««½

Playing at the Theatre Building Chicago, 1225 W. Belmont Ave. Chicago, IL, Friday & Saturday at 8 pm, Sundays at 3 pm, running time is 2 hours with intermission, through November 15, 2009.

 

View The Fantasticks

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Think Fast: Chicago Dramatists’ fundraiser and Porchlight Theatre in Japan

 Company-Photo-2008

  • Chicago Dramatists’ “$30 for 30” campaign, in its first week, has gathered 111 donations and raised a total of $11,300.  Though nowhere near at the moment, the theatre’s goal of 500 donations is well within reach, even more so with my reader’s help –  PLEASE DONATE NOW!

Eugene and Walter toast their trip and feast on Japanese cuisine, their favorite!  "Pacific Overtures" can soon be experienced at the Theatre Building.

  • In preparation of Pacific Overtures, Director L. Walter Stearns and Music Director Eugene Dizon traveled to Tokyo and Shimoda, Japan. In the process they penned a three part essay that chronicled their travels, discoveries, and eye-opening experiences on the way.  You can read the third-installment after the fold. In addition, Porchlight Music Theatre has been maintaining a cool behind-the-Pacific-Overtures production blog.  “Pacific Overtures” has now completed its first-week run.

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