Review: 42nd Street (Marriott Theatre)

  
  

Shuffle off to Buffalo Lincolnshire

  
  

Drew Humphrey as Billy Lawlor with Ensemble

  
Marriott Theatre presents
  
42nd Street
     
Book by Michael Stewart and Mark Bramble
Music by Harry Warren; Lyrics by Al Dubin 
Directed by Rachel Rockwell
at Marriott Theatre, Lincolnshire (map)
through May 29  |  tickets: $40-$48  |  more info

Reviewed by Lawrence Bommer

We can’t, it seems, get enough of The Understudy Who Becomes A Star, especially when the hokey, sappy and satisfying story is stuffed with thrills like "Lullaby of Broadway" and "Young and Healthy." Some clichés justify themselves, if only because nothing less than hokey can fill the sentiment completely.

Kaitlyn Davidson as Peggy SawyerWhen Busby Berkeley‘s 1933 film classic "42nd Street" (with its superb score by Harry Warren and Al Dubin) became in 1980 a successful, Tony-winning musical, the last offering from the great Gower Champion, it proved you don’t need a Depression to justify a good time (though the number "We’re in the Money" sounds more like wishful thinking than ever).

Almost 80 years later, Peggy Sawyer, the tap-dancing chorus girl from Allentown who makes it big on the Great White Way, replays her all-American success story in Marriott Lincolnshire Theatre’s electric revival. Rachel Rockwell’s staging provides, as if needed, more proof that an arena staging can hold its own with a proscenium one for sheer moxie, showbiz savvy and pure pizzazz. (It helps to have a revolving stage to imitate the motions of Busby Berkeley’s overhead cameras.)

Peppy, perky, breezy and campy in the cutest way, the musical also preserves the film’s hungry edge and desperate-to-please energy. The big change is to downplay the chirpy Ruby Keeler-William Powell romance between plucky chorus girl and smiling juvenile and to play up (to please original producer David Merrick) Peggy’s fixation on her hard-boiled, devilishly driven director Julian Marsh. It gets in the way of the show’s chief interest–how Peggy can overcome her shyness, discover her undeniable talent and sell it–and the show ”Pretty Lady”–to the world.

The tribute to the "glittering gulch" of Times Square is as fine a hymn to showbiz solidarity and team spirit as A Chorus Line, 42nd Street glows with solid showmanship in Rockwell’s knowing, loving revival. If the arena production lacks Robin Wagner’s showy sets from the Broadway production (most notably in the mirrored "Shadow Waltz," here clumsily done with silhouettes on a screen, and the awesome Broad Street terminal where "Lullaby" gets hoofed out), Tammy Mader’s pulse-pounding choreography supplies its own heart-stopping spectacle.

     
Tom Galantich as Julian Marsh Drew Humphrey as Billy, Kaitlyn Davidson as Peggy
Drew Humphrey as Billy Lawlor with Ensemble 2 Roger Mueller as Abner, Catherine Lord as Dorothy

The opening tap dance rouser is enough to bring down the house but the house continued to tumble with the Ziegfeld spectacle of "Dames," the chaotic precision of "Getting Out of Town," the marquee-bright splendor of the title song and the vaudeville hijinks of "Shuffle Off to Buffalo" (complete with tiny sleeping cars that revealed chorus girls in salacious lingerie). The chorus boys and girls are worth their weight in Kruggerands.

Carrying the show as no understudy ever could is Kaitlyn Davidson, a platinum-blond Peggy Sawyer whose inexhaustible tap dancing and lyrical assurance can only improve on Ruby Keeler’s wooden original. Drew Humphrey, as her adoring but muted Billy, smilingly exploits what’s left of a role that was virtually handed over to Julian. Tom Galantich plays him with the right mix of messianic rigor and paternal regard, but Julian remains a character who seems warmer on the page than he ever is in life.

Making up for Thomas Ryan’s clever but minimal set pieces (some perhaps dating back to Marriott’s first production in 1993) are Nancy Missimi‘s time-travelling costumes, Depression elegant in their flouncy escapism.

  
      
Rating: ★★★½
  
   

Cast of 42nd Street - Marriott Theatre

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REVIEW: The Music Man (Marriott Theatre)

         
        

Iowa Splendid

 

 

Bernie Yvon and Danny Coonley in The Music Man - Marriott Theatre

    
Marriott Theatre presents
   
The Music Man
   
Book/Music/Lyrics by Meredith Willson
Directed by
Gary Griffin
at
Marriott Theatre, Linconshire (map)
through Jan 9  |  tickets: $40-$48  |  more info

Reviewed by Lawrence Bommer

For reasons we can only guess at, Marriott Theatre has picked it for their holiday offering. But if ever a show spelled out summer, it’s Meredith Willson‘s 1957 masterpiece The Music Man. Throughout the rollicking story the title character exudes sunny optimism, a flimflam that "Professor" Harold Hill wants to believe as much as the suckers who take it in. His buoyant drive fits the season like a picnic. You’ll forget about the winter completely over the next 150 minutes.

Johanna McKenzie Miller and Bernie Yvon in The Music Man - Marriott TheatreOf course Hill is a 1912 confidence man who hornswaggles a ragtag band into playing music, a shy boy into speaking, a town into believing in itself and a librarian into love. The sturdy story is perfectly embedded in a very particular time capsule, with Willson meticulously employing with glorious abandon assorted slang, celebrities and colorful metaphors from the era and the state.

Helping this miracle worker Hill cast his spell, Willson gives him such powerful persuasion as "Seventy-Six Trombones" and "Trouble," the famous snake-oil sermon. By the musical’s end Hill has sold far more than he knows, a passel of dreams for River City to grow on. It’s a great formula: A mysterious stranger comes to town and changes everyone for the best, including himself when he realizes that what he gives is worth far more than what he sells.

Few shows strike such a shrewd balance between downhome decency and showbiz savvy. Because The Music Man wears its songs on its sleeve, it can’t seem too slick or smooth. What matters is the tender loving care.

The heart comes through like a charm in Marriott Theatre’s easy-winning, arena revival. Intimately homespun yet always knowing, Gary Griffin’s staging trusts the material, Willson’s fast-moving book, deceptively clever lyrics and unimprovable melodies–and gets them right throughout.

The look, for instance: Tom Ryan‘s clever, flexible and detailed set pieces combine to create a richly nostalgic Iowa setting, and Nancy Missimi’s fashionplate period costumes complete the illusion.

The human illusions are equally on target. Conning with unforced charm, Bernie Yvon offers a Harold Hill who listens as much as hoodwinks; like a good salesman he connects with the townsfolk until you see how much he means it. His charm is non-negotiable, though the changes he undergoes are a bit harder to measure under Yvon’s boundless confidence.

Barbara Cook and Shirley Jones notwithstanding (comparisons are odious), Johanna McKenzie Miller nicely inhabits Marian’s rich mix of spinster standoffishness and idealistic yearning. Her "Till There Was You" is earned by every line she’s said. (The fact that she also sounds just like Cook in her perfect prime doesn’t hurt in the least either.)

The cast of The Music Man - Marriott Theatre 2

Johnny Rabe and Danny Coonley in The Music Man - Marriott Theatre Johanna McKenzie Miller and Bernie Yvon in The Music Man - Marriott Theatre 3

Like the leads, the supporting roles betray much more life than art, even the hammy stock roles like John Reeger‘s pompous mayor, Iris Lieberman as his starched-blouse wife, Mary Ernster as Marian’s matchmaking mother and Andy Lupp as Hill’s gleeful trickster accomplice.

As the decent local kids whom Harold helps, Adrian Aguilar and Amanda Tanguay carry the romantic subplot with goofy grace. Special credit goes to little Johnny Rabe whose bashful Winthrop wails out "Gary, Indiana" as if he just made it up.

Finally, Matt Raftery‘s unshowy choreography reminds us that these are unpretentious Iowans whooping it up as best they can: There’s no showoff hoofing here. The “Shipoopi” explodes with prewar pep and a palpable joy that makes the most difficult dancing seem a gift to perform as much as perceive. David Kreppel’s musical direction is assured, especially in the barbershop-quartet offerings.

 

  
  
Rating: ★★★★
 
 

The performance schedule is Wednesdays at 1pm and 8pm, Thursday and Fridays at 8pm, Saturdays at 4:30pm and 8pm, and Sundays at 1pm and 5pm.  There will be an added performance Tuesday, 11/23 at 8pm and Friday, 11/26 at 4:30pm.  No performances Tuesday-Thursday, Nov 24th and 25th.

The cast of The Music Man - Marriott Theatre

 

 

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REVIEW: Sleeping Beauty (Marriott Theatre)

Centuries-old fairy tale energized with girl-power

 SLEEPING BEAUTY--Jessie Mueller as Princess Amber 2

Marriott Theatre presents:

 

Sleeping Beauty 

Adapted by Marc Robin
Directed and choreographed by
Matt Raftery
At
Marriott Theatre, Lincolnshire (map)
through April 25th
(more info)

reviewed by Aggie Hewitt

“Sleeping Beauty” was first published in 1697, and since then has morphed, changed, been embellished and re-interpreted in thousands of ways; both subtle and overt. Here in America, any girls born after 1959 probably know the Walt Disney version of the story the best; lovely, quiet Aurora sings and picks flowers, obeys her godmothers (without any inclination that they are, in fact, fairies  – and that she is in fact a princess), gets tricked, falls asleep, gets rescued by an equally genteel and beautiful prince and they all live happily ever after. The film is a classic, but SLEEPING BEAUTY--Jessie Mueller as Princess Amberprincesses like that don’t reign anymore. It is no longer interesting to see a heroine who goes through the story with no control over her actions, and whose main character arc is going from slumber to awake.

In Marc Robin’s new theatrical adaptation, produced by the Marriott Theater for Young Audiences, Sleeping Beauty is a tomboy: she spends her days climbing trees, dreaming of adventure and defending the bumbling dork Prince Hunter (Ryan Reilly) from fire-breathing dragons. Her dialogue is lightly peppered with girl power rhetoric: she claims that pressure for her to wear dresses is "stereotyping" and at one point accuses her Puck-like attendant (Andrew Keltz) of discrimination. These not-so-subtle aims to break down hundreds of years of gender expectations are nice to see, even if they do go over the heads of the kids in the audience and are too broad for the adults.

Sleeping Beauty has gone by many names, including Grimm’s Briar Rose and Disney’s Aurora.  Here, however, she is Princess Amber, of Colorland (played by Jessie Mueller). Colorland is a magical world where everyone has their own color that identifies them: the three fairy godmothers are Periwinkle (Heidi Kettenring), Ruby (Johanna McKenzie Miller) and Marigold (Tammy Mader), and the wicked fairy who condemns Amber to prick her finger on that fateful spinning wheel is Magenta (Susan Moniz). The three good fairies have a nice relationship, and Heidi Kettenring’s goofball performance is a standout (remarked my six year old companion, "Periwinkle was funny!"). Magenta is bad without ever being too scary. The fear factor for kids varies widely; age and sensibility are obvious factors. I brought a six year old and a nine year old who had different reactions to Magenta. The six year old was a little scared of Magenta, but managed to work through it, while the nine year old was mostly interested in her dress which was "cool." Magenta does in fact have a cool dress, designed by Nancy Missimi, but no extra baubles that would make her SLEEPING BEAUTY--Ryan Reilly as Prince Hunter, Jessie Mueller as Amberparticularly freaky to most kids – she does not sport any weird make up, wear a mask or wig, or anything out of the ordinary that would be particularly creepy.

The show is nicely paced. The whole production, including the talk back at the end, runs about 90-minutes. The top half of the show is focused on Princess Amber and her unconventional personality. The presence of Princess Amber is strongly felt, and her sleep is greatly reduced from the hundred years of most versions to an afternoon. During this time, Prince Hunter has to overcome a series of obstacles in order to save his slumbering love with a kiss. Being scared and uncoordinated, he relies both on the fairies and on the audience to help. The children in the audience are cued to shout "I’m your friend" and "You can do it!" at different times. Some kids might find this embarrassing, but it makes for a lively production. The connection between actors and audience is stronger here than in most adult theater. It comes to a quick, clean conclusion and ends on a high happy note (go figure).

SLEEPING BEAUTY--Andrew Keltz, Susan Moniz, Jessie Mueller SLEEPING BEAUTY--Tammy Mader, Johanna McKenzie Miller, Bernie Yvon, Heidi Kettenring

Sleeping Beauty ends with a question/answer talk back, introducing the audience to the actors, the stage manager, the back stage crew and the live band, which is educational and well rounded. The kids get to ask the actors questions about plot points that don’t make sense to them or special effects that seem like real magic to little eyes. The encouraging and informative nature of this talk back is the highlight of the show. Imagination and participation are strongly encouraged by the charming cast, which hosts the session.

The play, which is staged in the round, shares the lovely real wood, rustic set of Fiddler on the Roof, the evening production at the Marriott Theater for Old Audiences. The set was conceived to work with both productions, and doubles well. The natural looking set relieves some of the tension of the princess-and-fairy-run-world of Colorland and brings the production down to earth. The fire breathing dragon, who makes two appearances is constructed of three parts, operated by three different people. The three actors walk in unison, holding large wood puppets representing the three sections of the dragon’s body. The effect is nice and organic. It is also not the only shadowing of Julie Taymor-esque impressionism: a cloth mound is a mountain, a blue sheet is the sea.

The production sets its audience up to fill in the blanks with their imaginations, which proves easy for the kids.  And for adults, it’s nice to see some subtlety in children’s entertainment. Sleeping Beauty respects the intelligence of children and the sanity of adults: it’s is never over-stimulating or tacky.  The little ones in the audience don’t see the thought that went into this production, but they will enjoy it without the need for shock-value. The clarity and focus of the storytelling make Marriott Lincolnshire’s Sleeping Beauty a perfectly nice and colorful way to spend your morning with the little ones in your life.

 

Rating: ★★★

 

SLEEPING BEAUTY--Heidi Kettenring, Susan Moniz, Johanna McKenzie Miller, Tammy Mader

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Review: Marriott Theatre’s “Hairspray”

Marriott Lincolnshire brings the beat and never stops

 hairspray3

Marriott Theatre presents:

Hairspray

by Marc Shaiman, Mark O’Donnell and Thomas Meehan
directed/choreographed by Marc Robin
thru December 6th (but tickets)

reviewed by Oliver Sava

Hairspray4 The genius of Hairspray is its pulse; when the show starts moving it never slows down, a feat accomplished by the retro rock n’ roll stylings of Marc Shaiman’s music and a hilarious but socially conscious book by Mark O’Donnell and Thomas Meehan. Exquisitely directed and choreographed by Marc Robin, Marriott Lincolnshire’s Hairspray captures the limitless energy of the early 60’s with the kind of finesse that makes it all look so easy.

Not enough can be said about Robin’s creative prowess, seamlessly maneuvering his actors around the tricky stage of Marriott’s in-the-round theater. When all 29 actors in the cast perform the show’s final number to all four sides of the house, the rush is exhilarating. Of course, it helps that Robin is assisted by a cast of the city’s top musical theater talent and Chicago newcomer Marissa Perry, who comes straight from Broadway where she played the fifth and final Tracy Turnblad.

Set in 1962 Baltimore, Hairspray tells the story of spunky teenager Tracy’s mission to become a star on “The Corny Collins Show” and date hunky Link Larkin (Billy Harrigan Tighe) while overcoming her overprotective mother Edna (Ross Lehman) and the bitchy Barbie mother-daughter duo of Velma and Amber Von Tussle (Hollis Resnick, Johanna McKenzie Miller). When the dance moves Tracy learns from black classmate Seaweed J. Stubbs (Joshua Breckenridge) in detention make her Baltimore’s hottest sensation, she sets out to integrate her favorite television show with the help of best friend Penny Pingleton (Heidi Kettenring) and Seaweed’s brassy mother Motormouth Maybelle (E. Faye Butler).

Hairspray1

Perry is pitch-perfect as the show’s protagonist, and she brings an infectious energy to the stage that not only spreads to her costars, but the audience as well. When she squeaks out the first notes of the show’s opening number “Good Morning Baltimore” there is no doubt that this is a role that fits her like a glove. The powerhouse vocals and amazing comedic timing of Butler and Kettenring make their scenes with Perry crackle with energy, and watching Lehman’s Edna burst out of her shell and embrace her buxom beauty is heartwarming. Breckenridge gives Seaweed an unbridled sensuality that adds a layer of grit to his dirty dancing, (but there were moments when his vocals paled in comparison to his costars). Marriott’s Hairspray is musical theater at its finest, and should not be missed.

Rating: ««««

 

Hairspray2

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