Review: Sense and Sensibility (Northlight Theatre)

     
      

An enchanting happily-ever-after saga

  
  

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Northlight Theatre presents
  
Sense and Sensibility
  
Adapted and Directed by Jon Jory
Based on the novel by Jane Austen
at North Shore Center for the Performing Arts, Skokie (map)
through April 27  |  tickets: $40-$45  |  more info

Reviewed by Katy Walsh 

One sister driven by passions.  One sister steering by intellect. Eighteenth century husband-shopping rips the heart with mind games.  Northlight Theatre presents the world-premiere of Sense and Sensibility from the book by Jane Austen.  The death of their father leaves the Dashwood sisters financially-strapped.  Without a proper dowry, marriage prospects dwindle.  Still, the sisters muse potential suitors.  Marianne falls quickly and hard for her dashing rescuer.  Elinor connects wittingly with  her sister-in-law’s brother.  Love gets complicated when ‘marrying for money‘ cashes in on the sisters‘ happiness.  Sense and Sensibility is love by the book…Austen style.

Sense and Sensibility - Northlight Theatre 008Jon Jory puts his heart and head into a complicated adaptation.  The Austen novel has a bounty of characters with complex lineages speaking in formal prose.  Directing the adaptation too, Jory devises a dynamic play boasting multiple love stories.  On a simplistic set (scenic designer Tom Burch), Jory smoothly and quickly moves in or out chairs, love seats, even a buffet table to show location changes.  (Kudos to stage manager Laura D. Glenn for the ever-shifting action cued up by a piece of furniture or article of clothing).  Jory orchestrates a page-turner pace with a mega-talented cast.

In the leads, these sisters are perfectly novel to the plot.  Helen Sadler (Marianne) is delightfully impulsive and lively.  Sadler punches up the humor with brutal assessments of people’s virtues.  Heidi Kettenring (Elinor) is lovely as the reserved sister.  In contrast to Sadler’s exaggerated drama, Kettenring contains her emotions with subtle nuisances:  clasped hands, half-smile, dead-pan delivery.  Kettenring delivers one of my favorite responses to an inquiry of her sister’s illness.  Kettenring dryly states, ‘she is a victim of expectations.’ Classic wit!  Their mother, Penny Slusher, is adorably maternal.  Slusher frets with a charming romantic simplicity.  Playing her sensibility contrast, Wendy Robie (Mrs. Jennings) is hilarious as the meddling wannabe marriage broker.  Robie zings delivering deliciously improper barbs without malice intent. 

     
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The bevy of men make the husband selection difficult.  Greg Matthew Anderson (Willoughby) is dashingly charismatic. Anderson pulls on the heart strings as a drunken scoundrel with a hint of remorse.  His opposite, Jay Whittaker (Colonel Brandon) is quiet, handsome dignity.  Whittaker’s non-emotional and abrupt reactions are amusing and endearing.  Understudying the part of Edward Ferrars, Derek Czaplewski does a splendid job as the awkward and honorable man of engagement.  V Craig Heidenreich (Sir John Middleton) is a hearty serving of humorous hospitality. The entire, ever-moving, excellent ensemble performs and schlepps props for a sublime illustration.      

Sense and Sensibility is an enchanting happily-ever-after story.  As a woman with a little of both, the sophisticated dialogue is intellectually riveting and the known outcome still made me weepy.     

  
  
Rating: ★★★½
    
  

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Sense and Sensibility continues through April 27th, with performances Tuesdays, Wednesdays, Thursdays at 7:30pm; Fridays and Saturdays at 8pm; Sundays at 7pm; Saturdays and Sundays at 2:30pm, and Wednesdays at 1pm. Tickets are $40-$45, and can be purchased online or by calling 847-673-6300.  More info at www.northlight.org. Running time:  Two hours and thirty minutes with a fifteen minute intermission.

3 words: A newbie to Austen’s tale, Jasleen describes it with ‘dear sisterly love.’

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REVIEW: The Hundred Dresses (Chicago Children’s Theatre)

   
  

Reducing childhood bullying one performance at a time

   
   

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Chicago Children’s Theatre presents
   
The Hundred Dresses
   
Written by Ralph Covert and G. Riley Mills
Directed by
Sean Graney
North Shore Center for the Performing Arts, Skokie (map)
through Dec 2   |  tickets: $26-$36  |  more info

Reviewed by Katy Walsh 

One in five students are bullied each year. 60% of students are bystanders to bullying*. Forty-five states, including Illinois, now have anti-bullying legislation. Bullying prevention programs have been shown to reduce school bullying by as much as 50%. To entertain and educate, Chicago Children’s Theatre remounts last season’s smash hit, The Hundred Dresses.

The Hundred Dresses - Chicago Childrens Theatre 008Peggy is rich. Wanda is poor. Maddie is somewhere in the middle. Clothing makes a fashion statement at Franklin Elementary School. Peggy is mean. Wanda is kind. Maddie is somewhere in the middle. The Hundred Dresses is a light-hearted musical dressed up to teach a powerful lesson. It’s theGlee” episode that harmonizes “Clueless” meets “Mean Girls”.

In their upbeat and high energy antics, these adult actors unleash the cute kid inside. Leslie Ann Sheppard (Maddie) is a shiny-happy sidekick to Natalie Berg’s (Peggy) self-absorbed diva. Berg balances over-the-top narcissism without becoming the villain. Berg charms in clueless oblivion. When she sings ‘you didn’t do anything wrong’ with perky sass, Sheppard’s soulful response ‘but I didn’t do anything right’ heightens in its profound simplicity. Sheppard’s subtle despair is a sweet awakening. The target of the teasing is Briana De Giulio (Wanda). De Giulio sings with hopeful pretend and a thick Polish accent. The interesting underlying story involves the overall acceptance of the other quirky playground kids. Andrew Keltz (Willie) is hysterical, arriving to school in various eccentric ensembles. Superman or robot, he doesn’t disguise his oddball ways that are just understood by the others. Elana Ernst (Cecile)is a tiara wearing, unicorn talking, ballerina wannabe. She looks and sounds like SNL alum, Cheri Oteri, with comedic timing and exasperated expressions to match. Geoff Rice (Jack) is the understated dreamer with a confident independence. The kids bond in a celebration of individuality.

Under the direction of Sean Graney and choreography of Tommy Rapley, the playful style is like a nursery rhyme game. It seems like it’s all fun and games until you really listen to the words. Jacqueline Firkins conjures up the perfect wardrobe to focus on dresses. The girls’ dresses are marvelously vibrant 50’s style. Watching the cast change it up, certainly promotes clothing envy. Is it the costumes? Is it the singing? Is it the dancing? Is it the cast? There are probably over 100 reasons to see The Hundred Dresses. The most important one is ‘because doing nothing is the worst of all.’ As grown-ups, we need to act to stop the bullying in schools. An easy and entertaining way is to take a kid or two (or a classroom!) to this production, which helps kids learn important life lessons in an entertaining way. Go see it!

   
   
Rating: ★★★½
    
   

The Hundred Dresses plays Tuesdays through Fridays at 10:30 a.m; Saturdays and Sundays at 1p.m.    Running time is sixy minutes with no intermission. *Statistics about bullying from Newsweek Magazine, October 10 issue.

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All press photos by Michael Brosilow

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Review: Chicago Children’s Theatre’s “The Hundred Dresses”

Hilarious and touching – plus pretty dresses!

 Hundred-Dresses

 

Chicago Children’s Theatre presents:

The Hundred Dresses

by G. Riley Mills and Ralph Covert
directed by Sean Graney
extended through November 22nd (buy tickets)

Reviewed by Oliver Sava

Hundred-Dresses-3 The Hundred Dresses is a pretty show: pretty music, pretty voices, pretty staging, and of course, pretty dresses. The 100 Dresses is also a children’s show. If you don’t get designated nap time or a half hour after lunch to play kickball, then you are probably not the target audience for Chicago Children’s Theatre. Luckily, however, The 100 Dresses is a great show; a musical that speaks to the hearts of anyone that has ever needed a friend.

Wanda Petronski (Lauren Patten) has just immigrated from Poland with her father, and she isn’t the same as the other girls. She speaks with a funny accent, wears the same blue dress to school everyday, and queen bee Peggy (Natalie Berg) just plain doesn’t like her. Caught in the middle is Peggy’s best friend Maddie (Leslie Ann Sheppard), who thinks Wanda is actually kind of nice. The girls start teasing Wanda, and when Wanda tells them that she actually has 100 dresses in her closet at home, the conflict escalates. When the bullying becomes too much, Jan (Kurt Ehrmann), Wanda’s father, pulls her out of the school and everyone involved learns a good lesson about the pain that bullying and teasing causes.

Hundred-Dresses-2 G. Riley Mills and Ralph Covert‘s script is straightforward but filled with hilarious jokes and inspirational moments, perfect for the children in the house. Meanwhile, the cast and director Sean Graney have found the serious reality behind the bright dresses and colorful schoolhouse, giving the musical a weight that makes it more than fluff theater that kills an hour of the babysitter’s time. When Peggy talks about how easy it is to get a job or spend hundreds on a dress, the people in the audience that are laughing are the teachers and the parents, not the kids. Adult characters like Jan Petrovski and Miss Mason (Nadirah Bost) are used to ground the world in a mature reality that is probably more hundred-dresses-4 engaging to an older audience. When Miss Mason learns about Wanda’s dead mother, Bost reacts with sympathy and tenderness that travels throughout the theater, warming the viewers to the Patrovski’s plight from the very beginning of the play.

The playwright duo brings the same mix of comedy and warmth to their music and lyrics, and the songs are catchy while still carrying great emotional gravity. “The Hundred Dresses,”  Wanda’s heartbreaking solo where she reminisces about her life in Poland and how girls would dance in the dresses their mothers made, is exquisitely handled by Patten, finding the perfect balance between the joys and pains of youth that captures the tragedy of Wanda’s loss. While the script keeps a fairly light feel throughout, the music has a maturity and fullness that is captivating. When Wanda is absent for many days in a row, Maddie sings “Wanda Petrovski is Missing,” a rollercoaster of a ballad that requires a great belt, amazing diction, and razor sharp acting skills. Luckily, Sheppard is more than up for the task, and Maddie is a lovable protagonist that is easy to relate to.

 

All the actors that make up Wanda’s class of six have great chemistry with one another, and group numbers like “Penny Paddywack” are electric. The company’s voices all blend beautifully, and the melancholy “Passing of Autumn” is a wonderful showcase of their talents. Geoff Rice is adorable as class underdog Jack, whether he is stressing about winning the art contest or helping Maddie makes the right decisions, and Elana Ernst and Tyler Ravelson provide great comic relief two of Wanda’s goofy classmates; Ernst as hilariously airheaded diva Cecile and Ravelson as costumed class clown Willie. 

And the dresses? Costume designer Jacqueline Firkins‘ creations are gorgeous.

Rating: ««««

 

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