REVIEW: Seven Brides for Seven Brothers (Drury Lane)

 

Dynamic choreography, rousing leading lady save flawed musical

 

 (L-R) Cara Salerno, Vanessa Panerosa, Amber Mak, Hallie Cercone, Abby Mueller, Katie Huff, and Amanda Kroiss star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

        
Drury Lane Oakbrook presents
   
Seven Brides for Seven Brothers
   
Book by Gene del Paul, Al Kasha and Joel Hirschhorn
Music/Lyrics by Gene del Paul, Al Kasha, Joel Hirschhorn and Johnny Mercer
Directed by Bill Jenkins
Musical Direction by
Roberta Duchak
at
Drury Lane Theatre, Oakbrook Terrace (map)
through December 19  |  tickets: $31-$45  |  more info

Reviewed by Oliver Sava

In the 1954 movie musicalSeven Brides for Seven Brothers”, when men kidnap women and trick them into marriage, it’s not Stockholm syndrome, it’s love. “Seven Brides for Seven Brothers” is one of those movie musicals that is a product of its time, when women were looked at as little more than glorified housekeepers and baby makers, born to do the will of their man. When Adam Pontipee (Steve Blanchard) deceives the sassy Milly (Abby Mueller) into marrying him, his six brothers set out to capture wives for themselves, ambushing six town girls and throwing them in the back of their wagon. It’s offensive, but the music is jovial and melodic, the dancing is energetic and plentiful, and the film’s leading man Howard Keel’s booming voice and charming smile make it difficult to despise the chauvinistic Adam.

(L-R) Richard Strimer (Benjamin) and Abby Mueller (Milly) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett BeinerMy problems with the stage adaptation of Seven Brides for Seven Brothers arise from its attempts to flesh out the characters, which sounds like a good thing but ends up backfiring by making them even shallower. The solos do very little to make you sympathize with the characters, with Milly’s “One Man” beginning as a condemnation of her husband’s trickery before devolving into a tribute to female subservience. Conversely, Adam’s big Act Two moment of redemption “Where Were You?” attempts to justify his sexism by giving him a daddy complex, blaming his actions on his absent father instead of taking responsibility himself. It’s not difficult to assume that Adam’s behavior is a product of his environment, but when it is put into song it just makes the already unlikable character seem pathetic. Blanchard’s vocals don’t help matters, lacking the timbre and strength expected from an 1850 frontiersman. And while the added ensemble numbers manage to evoke the musical style of the film, the solos and smaller group sequences have a contemporary feel that is out of place with the rest of the show’s classic musical theater sound.

The highlight of the production is easily Milly and her relationship with her six brothers-in-law. Mueller’s crystal clear tone and powerful belt make her musical numbers stand out, and she has great chemistry with her new relatives as she assumes a dominating mother position in the household. Watching the brothers transform under Milly’s feminine influence is a joy, from learning to dance in “Goin’ Courtin’” to finally appreciating their women in the heartfelt “Glad That You Were Born.” With the brothers, there is evidence of a struggle between the uncivilized way they’ve been brought up and the restraint that makes for successful courting. “We Gotta Make It Through The Winter” is a hilarious exclamation of horny frustration, but it is followed by Daniel (William Travis-Taylor) and Frank (Brandon Springman) ruminating on the somber effects of loneliness in the beautiful “Lonesome Polecat.”

 

(L-R)  Abby Mueller (Milly) and Steve Blanchard (Adam) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner (L-R) Richard Strimer, Jarret Ditch, William Travis Taylor, Chris Yonan, Brandon Springman and (back) Zach Zube star in Seven Brides for Seven Brothers.  Photo by Brett Beiner.

The brothers learning to dance comes in handy for Tammy Mader’s intense, dynamic choreography. Maybe the reason Adam and Milly’s romance never blossoms on stage is because they don’t have a nice dance together like the brothers and their brides. There isn’t much depth to these characters and their affection for each other, but the substance appears in their dancing, when the chemistry really ignites. The extended town dance sequence in Act I is a mesmerizing affair, albeit a little chaotic and unclear at times, while an Act II all-bride dream ballet brings some sensuality to the affair.

Like the film, this production is propelled by its dancing, but bodies in movement can’t overcome all the flaws of the writing. The changes to the film give the story a more modern context, and the attempt to psychoanalyze the characters through song removes much of the musical’s charm. Drury Lane’s Seven Brides for Seven Brothers is a polished, well-performed production, but the questionable source material prevents it from rising to true greatness.

   
   
Rating: ★★½
   
  

(L-R) Chris Yonan, Hallie Cercone, Jarret Ditch, and Cara Salerno star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

 

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REVIEW: McMeekin Finds Out (Route 66 Theatre Company)

 

Did I mention we’re in Pittsburgh?

 

 Kate Buddeke, Blair Robertson, and Randy Steinmeyer

   
Route 66 Theatre presents
   
McMeekin Finds Out
   
Written by Scott T. Barsotti
Directed by Damon Kiely
at Richard Christiansen Theater, 2433 N. Lincoln (map)
through November 14  |  tickets: $25-$37   |  more info

Reviewed by Keith Ecker 

I hate seeing a bad play. You walk into the theater full of hope and high on expectations. The play may start out okay: an intriguing opening, some snappy dialogue and characters that are brimming with potential. But by the intermission, you realize the mess you’ve gotten yourself into, so you reach for your car keys. But then you remember you’re a theatre critic, so you have to stay and see if this agonizingly, dead-on-arrival play miraculously gets any better. And, more often than not, it doesn’t. Now you’re out two hours of your time, plus you must set out on the task of panning someone else’s beloved creation, which, let me tell you, makes you feel like a total and utter schmuck.

Route 66 Theatre Company’s world premier of McMeekin Finds Out makes me feel like a schmuck. This play is so seriously flawed that I am amazed the collective of talented artists behind the production didn’t demand this thing incubate a bit longer before letting it go to term. Don’t get me wrong; there is certainly potential. But as it stands, this mess of a slapstick comedy is like seeing a mediocre improv show, where everything rests on a thrown-together goofy premise and where louder means funnier.

Randy Steinmeyer and Kate Buddeke 2 The play, written by Scott T. Barsotti, centers around a family in Pittsburgh. And Barsotti doesn’t let you forget for a minute where this play takes place. Mentions of the Steelers occur in every other sentence, and everyone possesses the standard Pittsburgh dialect, sprinkling their dialogue with words like “yinz.”

At the play’s opening, we witness the daughter Carla (Blair Robertson) getting on a guy at a house party. She’s drunk, and we can’t quite see the young man the way the couch is positioned. What we do know is that he’s immobilized somehow, possibly drunk or possibly tied up. In any case, she proceeds to have sex with him, which surprisingly serves as the basis of the play’s entire plot. That’s because, upon arriving home the next morning, Carla confesses to her parents, Guy (Randy Steinmeyer) and Pam (Kate Buddeke), that she may have raped the young man, since technically he didn’t consent.

That’s about it. There’s really not much more to this play. Oh sure, Guy and Pam are both laid up due to a car accident that was Guy’s fault. Guy now wears casts on both arms, which may have destroyed his career in construction. And Pam’s leg cast has made it impossible for her to continue being a chef for the time being. But Guy’s underlying guilt over the accident and Pam’s resentment are barely touched upon. Instead, the question of whether Carla raped a boy and what is the family to do dominates every single moment.

And perhaps this wouldn’t be so bad if we, the audience, hadn’t already seen exactly what happened within the first minutes of the play. We know that she took advantage of this boy. We know most of the circumstances. And so when characters continually say things like, “Well, we don’t really know what happened,” you want to yell, “We do!” and hope everyone just moves on to something more interesting.

Another issue I had with this play is that it’s just not funny. The humor, solely because of the subject matter, occasionally verges on edgy. But overall, most of the jokes are on par with sappy sitcom schlock.

For what it’s worth, much of the acting is solid. Steinmeyer is entertaining. His portrayal of Guy is as if you mashed Edith and Archie Bunker into one person. Likewise, Buddeke provides some much-needed understatement and realism to this otherwise over-the-top, harebrained play.

McMeekin Finds Out doesn’t know what it’s trying to say. It goes nowhere while being simultaneously all over the place. Worst of all, there’s no driving force that compels the audience to keep watching. Give this play a thorough rewrite or transform it into a brief one act and you may have something. Otherwise, the only thing you’ll find out is that you just sat through a bad play.

       
   
Rating: ★½
   
   

 Randy Steinmeyer and Kate Buddeke

 

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REVIEW: Ragtime (Drury Lane Oakbrook)

Drury Lane scores big with epic musical “Ragtime”

RAGTIME-_The_cast

 
Drury Lane Oakbrook presents
 
Ragtime
 
Based on the novel by E.L. Doctorow
by
Terrance McNally (book), Stephen Flaherty (music), Lynn Ahrens (lyrics)
directed/choreographed by
Rachel Rockwell
at
Drury Lane Theatre, Oakbrook (map)
through May 23 (more info)

By Katy Walsh

‘What can happen in a year?’ Father’s question is an expectation that life is simple and predictable.

BF1C0838 The reality is birth, death, emancipation, persecution, obsession, syncopation. In 1906, the regularity in life takes unexpected turns as Drury Lane Oakbrook presents Ragtime The Musical. The show focuses on the lives of three groups: WASPs, blacks, and immigrants. In the New York suburbs, a wealthy family breaks the monotony with wild excursions and celebrity stalking. In Harlem, a successful black piano player decides to search for his lost love. Just off the boat, an Jewish immigrant artist and his daughter arrive with nothing but optimistic anticipation. Three distinctly different rhythms unexpectedly intersect to create a new tune. Ragtime celebrates a year in American history by paralleling the adaption of ragtime music with socio-economic changes of the time period. The results are a stunning history lesson intertwined with melodies of hope and change.

Under the skillful direction and choreography of Rachel Rockwell, the tempo never misses a beat. Rockwell strikes all the right notes with this multi-talented cast. Quentin Earl Darrington (Coalhouse) is the powerhouse of emotional range in song and act. His tune changes throughout the show – regret, love, vengeance. Darrington connects the audience with his story based on heart wrenching hope. His “The Wheels of a Dream” duet with Valisia LeKae (Sarah) is flawless. LeKae is a perfect match-up and their onstage chemistry is the epic-love-story-kind. Cory Goodrich (Mother) is marvelous in an understated and nonchalant way. Goodrich’s character changes her family’s life dramatically with simple choices. Her transformation is most baffling to Father played by Larry Adams. In a pivotal song, Adams is perplexed as he sings, ‘I thought I knew what love was but these lovers play different music.’

With inspirational paternal love, Mark David Kaplan (Tateh) chases a train for a teary-eyed audience impact. Alongside the principals, smaller and famous roles engage curiosity. Emma Goldman (Catherine Lord) influences as a social reformer. Evelyn Nesbit (Summer Naomi Smart) is the Brittany Spears of the time period…whee! Harry Houdini (Stef Tovar) mystifies as a successful immigrant. Booker T. Washington (James Earl Jones II) commands integration and respect.

BF1C1085 Larry_and_Cory
BF1C0803 BF1C0945 Mark_Kaplan-Jennifer_Baker

Surprisingly, this blockbuster musical starts with a stark stage. The introduction of characters is a popped up portrait of perfection. Literally, group entrances are elevated from below stage. As the three groups multiply across the stage, the unique flair of costume distinction, designed by Santo Loquasto, is a spectacular visual. Costumes, projections, lighting, moments of tasty eye candy decorate this show. From silhouettes marching to swimmers bathing, the imagery dances to the ragtime.

And there was distant music, simple and somehow sublime. Giving the nation a new syncopation.  The people called it Ragtime!’

Paralleling life’s happenstance, my performance had some twists not necessarily planned. There seemed to be an issue with lighting up the solo singers in the first few scenes. A momentary blip broke the backdrop illusion with a ‘Microsoft word computer screen’ projection. Initially, the audio seemed hollow. I was uncertain if it was a microphone or acoustic issue. It either cleared up or my engrossment made it a moot point. All in all, this production was amazing. It left me reinforced that a gesture of kindness changes life’s courses and bewildered about men’s obsessions with cars.

 
Rating: ★★★★
 

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