REVIEW: Hello Dolly (Light Opera Works)

     
     

Phenomenal dancing and singing makes ‘Dolly’ a New Year’s treat 

     
     

Mary Robin Roth (Dolly Gallagher Levi) in Hello Dolly – Light Opera Works. Photo Credit: Rich Foreman

    
Light Opera Works presents
   
   
Hello, Dolly! 
       
Book by Michael Stewart
Music/Lyrics by
Jerry Herman
Directed by
Rudy Hogenmiller
at
Cahn Auditorium, 600 Emerson, Evanston (map)
through Jan 1  |  tickets: $32-$92   |  more info

Reviewed by Katy Walsh

“Some people paint, I meddle.”  A widow makes a living as a matchmaker.   Light Opera Works presents Jerry Herman’s Hello, Dolly!, a big-hearted musical based on Thornton Wilder’s play The Matchmaker, set in 1890.

Before the parade passes by, I want to get in step while there’s still time left.” Dolly Levi wants to start living.

Dolly’s retirement plan is to marry the well-known half-millionaire, Horace Vandergelder.  Because Dolly is very good at her job, Horace IS ready to marry… Irene Malloy. Before Horace can pop the question to Irene, Dolly must strike the match.  It’s a hilarious intervention as Dolly rearranges multiple lives to marry off herself.    Hello, Dolly! is a witty, musical frolic wedded to the courtship dance.

You’re looking swell Dolly.  I can tell Dolly. You’re still glowin’, you’re still crowin’, you’re still goin’ strong. 

Mary Robin Roth (Dolly Gallagher Levi), Peter Verdico (Horace Vandergelder) star in Hello Dolly - Light Opera Works  Photo Credit: Rich ForemanMary Robin Roth (Dolly) has flawless comedic timing.  Roth delivers zesty lines with a side of slapstick, and has all the personality to anchor the show in the title role.  The musical orchestration has been adjusted for Roth’s limited singing range; her lower vocal style is robust but in moments awkward.  In solo numbers, it’s a unique rendition, but when she joins in on a brightly sung ‘Put on Your Sunday Clothes,’ Roth creates a bit of speed bump.

The best match of the show is the chemistry between Robert Brady (Cornelius) and Patrick Tierney (Barnaby).  The dynamic duo sing, dance and lampoon with charm and amusing absurdity.   Although Jessye Wright (Irene) has a beautifully operatic singing voice, it’s too serious for the light-hearted romp.  It really only works as the parody line Wright sings in ‘Elegance’ to make fun of the sophisticated.

A 22-piece orchestra, conducted by Roger L. Bingaman, sets the tempo for a splendid full-bodied musical chorus.

‘Don’t you think my dancing has a polish and a flare?  The word I think I’d use is athletic!’

The dancing IS athletic and amazing!   Rudy Hogenmiller channels Gower Champion to choreograph dance sequences that elicit applause DURING the movement.  In particular, two memorable moments are actualized by a large segment of the chorus.  First, in the parade scene, the band moves into a revolving kick line.  For a small stage and multiple dancers, the graceful high-kick turning is incredibly impressive.  In the second act, the waiters have a vigorous prolonged dance sequence.  The word I think I’d use is ‘phenomenal.’    The synchronization is perfection.  The waiters’ jumps are a harmonious spectacle.

Despite promises that ‘Dolly’ll never go away again,’ it’ll be “Goodbye, Dolly!” in a week.    So, here’s your goal again,  get in drive again, if you wanna feel your heart coming alive again… get your tickets now… before the parade, and the full orchestra, passes by!

  
   
Rating: ★★★½
 
   

Hello, Dolly! continues performances on December 27th, 29th, January 2nd at 2pm;
December 28th at 7pm; December 30th, 31st, January 1st at 8pm. All photos by Rich Foreman.

Running Time:  Two hours and thirty-five minutes includes an intermission.

Robert Brady (Cornelius Hackl), Patrick Tierney (Barnaby Tucker), star in Light Opera Works’ HELLO, DOLLY!, December 26, 2010- January 2, 2011 at the Cahn Auditorium in Evanston, IL. Photo Credit: Rich Foreman

    
     

     
     

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REVIEW: Godspell (Provision Theatre)

 

Pop Culture Christianity

 

 The ensemble of GODSPELL rocks out on O BLESS THE LORD, MY SOUL - (front r to l) Sarah Grant, Tiffany Cox, Richelle Meiss, Amy Steele, Jennifer Oakley.  (Back r to l) Greg Walters, Frederick Harris, Kevin O'Brien.

   
Provision Theatre presents
   
Godspell
   
Conceived by John-Michael Tebelak
Music/Lyrics by
Steven Schwartz
at
Provision Theater, 1001 W. Roosevelt Road (map)
through September 26  |  tickets: $15-$28   |  more info

reviewed by Keith Ecker 

The original Godspell (an archaic spelling of the word “gospel”) was produced in 1971, just as flower power was wilting, eventually replaced by disco fever later in the decade. At the time, many were still holding on to their all-you-need-is-love mentality despite the demise of the hippie community along with the increasingly unpopular Vietnam War. As a result, many found comfort in close-nit cults and communes, while Judas betrayal: Justin Berkobien as Judas in GODSPELL, running through September 26 at 1001 W. Roosevelt Road, Chicago, IL.others just moved on with their lives.

Still, for some, there was a Christian reawakening, a dawning of the Age of Aquarius in which it was foretold that man would achieve a greater understanding of Jesus’ message of peace and harmony. Had Godspell, a musical based on the Gospel According to Matthew, been produced at any other time, it would not have ever reached the levels of success it did. First a hit off-Broadway and then a hit on Broadway, the show saw more than 2,600 performances. Its song “Day by Day” was 13th on the Billboard pop singles chart in 1972. And in 1973, the musical was made into a major motion picture.

But these days, it appears that the portrait of the peace-loving Christian has been painted over with the image of Bible-thumping Pharisees. This begs the question: In a world populated with apocalyptic celebrities ministers, can Godspell remain relevant? In the hands of Provision Theatre’s extraordinarily talented director Tim Gregory, it can and does.

Provision’s interpretation frequently wanders off-book from the original. This is no surprise considering the show—which is really just a bunch of parables strung together—plays more like an improv review than it does a play. Characters call out to one another casually, egging each other on as they bring Jesus’ teachings of righteousness and justice to life. Gregory uses the play’s spontaneity to insert pop-culture references that serve to remove us from the musical’s dated soundtrack and transport us to the present. Be prepared for riffs on Facebook, Beyonce and the stimulus package. The jokes are utterly cornball, but then again, so is Godspell.

The costumes (created by DJ Reed) have also received a reboot to keep up with the times. Characters have traded in their bell-bottoms and denim for loud, funky garments. The end result looks like an Old Navy commercial starring Jesus and John the Baptist.

Gregory’s staging and Amber Mak’s choreography are really the highlight of this production. There’s a lot of group movement going on, but no matter how many bodies are in motion, everybody acts and reacts with one another physically, creating a larger whole out of the many parts. It is here, through the collective action, that the play’s message of connectivity and brotherhood is most apparent.

Jesus being crucified: Syler Thomas as Jesus in GODSPELL, running through September 26 at 1001 W. Roosevelt Road, Chicago, IL.

Unfortunately, most of the ensemble’s voices are lacking, which is really a significant downside for a musical. Vocal precision is rare. Instead, notes warble, passing from flat to sharp. A cordless mic is used often to enhance lead vocalists who, I suppose, don’t have the pipes to belt it out to the back of the room. There are some standouts, however, particularly Justin Berkobien as John the Baptist and Amy Steele, who sings the lead on “Day by Day”.

Provision’s Godspell is just as slaphappy and feel-good as the original. That’s fine for those who already have Jesus in their hearts. But for the cynics or the persecuted, it might ring a little out of touch with contemporary displays of Christianity. As for those that just want to see some song and dance, don’t expect a choir of angels – but there’s certainly clever choreography!

   
   
Rating:  ★★½
   
   

Extra Credit:

Read Mark Ball’s Godspell review from his blog One Chicago Man’s Opinion:

….Provision Theater’s production of Godspell was, in two words, very energetic. The joyfulness and exhuberance I mentioned above abounded from start to finish, and the actors’ collective excitement infected the audience. They properly exaggerated their characterizations, their timing was sharp, the cabaret was amusing, and the flow of the show was kinetic. But there were two major weaknesses, the first being that of bad acoustics and the second, that of bad singing. Despite the presence of some impressive vocal talent in the cast, a few soloists were clearly unprepared, one of whom caused me to cringe from his off-pitch screeching.  Read the entire review.

     
     

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