REVIEW: Mid-life! The Crisis Musical (Metropolis Arts Centre)

Still in need of some ‘crisis’ management

 

Productions - Mid Life - 6

  
Metropolis Performing Arts Centre presents
  
Mid-life! The Crisis Musical
 
By Bob Walton and Jim Walton
Directed by Robin M. Hughes
at MPAC, 111 W. Campbell St., Arlington Heights (map)
Through June 19 | Tickets: $35-$43 |  more info

Reviewed by Leah A. Zeldes

Hot flashes, varicose veins, dimming vision, escaping memories, philandering husbands … these are the subjects of Mid-life! The Crisis Musical, currently at Metropolis Performing Arts Centre in Arlington Heights. The opening number offers a laundry list of the pains of the 40s and 50s … and the rest of this overlong show, like middle age itself, goes downhill from there.

Productions - Mid Life - 2 Less a musical than a revue, the show quickly becomes repetitive, with the litany of the first song expanded in a series of thematic songs and skits. The humor expends itself rapidly — these are all jokes we’ve heard before. (And much of the opening-day audience at Metropolis not only lived through them but also at least a decade or two beyond.)

The funniest number, "What Did I Come In Here For?" comically details the problems of short-term memory loss. A mid-life translator interprets the frustrations of aging husbands ("I want to sleep with other women") to their weepy, menopausal wives and vice versa. "He Got What He Deserves" (a low-budget version of "Cell Block Tango" from Chicago) suggests that two-timing, middle-aged lotharios get their just rewards, a sadly untrue contention.

Some of the bits are just plain dumb, like one about a singing mammogram. "The Long Goodbye," a song about the difficulties of caring for elderly parents in senile dementia had the potential to be poignant, but the writers went for cheap laughs instead.

The cast, portraying six nameless middle-aged characters, carries through well, with good timing and fine moves, yet they can’t add much to such lightweight material. Dennis Brown‘s cockney accent seemed a bit distracting, though, and the women — Kate Brown, Elizabeth Haley and Katie Miller — all appear too young for the roles they’re supposed to be playing. Costume Designer Cathy Tantillo apparently tried to address this by putting them in frumpy knee-length khaki skirts with unattractive hem-line borders and maroon tops that emphasize bulges.

Scott Alan Emerick, 41, looks a bit on the youthful side, too, especially in a "Weekend Warriers" skit that portrays him as being the same age as the older men. Haley and David Elliott bring notable voices to their performances, but the music – peppy and uncomplicated – doesn’t give them much scope. (Hear samples on the website.)

Productions - Mid Life - 5 Robin M. Hughes uses a rear-stage video screen to introduce each number in a singularly uncreative use of high tech. The videos, mostly ugly, do nothing that wouldn’t have been more effective in live sequences … even an actor just carrying a sign across the stage.

Michael Gehmlich and Adam Veness have constructed an interesting multilevel staircase set, with two proscenium arches studded with 156 lights. It’s a pity that Christie Kerr’s uninspired choreography doesn’t make better use of it.

Getting old may be no joke, but Mid-life! The Crisis Musical won’t do much to lift your spirits.

   
   
Rating: ★★
  
  

Productions - Mid Life - 4

Continue reading

REVIEW: Out of Order (Metropolis Performing Arts Centre)

Sidesplitting performance worth a trip to the ’burbs

OutOfOrder2 

Metropolis Performing Arts Centre, Arlington Heights, presents

Out of Order

 

By Ray Cooney
Directed by David Belew
Through Feb. 19 (ticket info)

reviewed by Leah A. Zeldes

I don’t know who the first public official to be caught with his pants down was, but I wouldn’t be surprised if it happened before men even wore pants. No doubt, soon afterward, the event featured in a raft of dirty jokes. Like philandering politicians, low humor remains always with us, and sometimes even the highest minded of us can’t help laughing.

Metropolis Performing Arts Centre’s "Out of Order" is the funniest thing I’ve seen all year.

OutOfOrder4 Ray Cooney‘s routine bedroom-comedy plot promises much less than this production delivers. With his wife off in the country, suave Richard Willey, a Conservative junior minister in the British government, takes advantage of an all-night parliamentary debate to spend a naughty evening with Jane Worthington, a secretary on the staff of the opposition leader. Instead, they find a dead body in their hotel suite, and Willey calls on his ingenuity and his hapless parliamentary private secretary, George Pigden, to avoid a political scandal.

With the hotel’s supercilious manager, a venal waiter, Jane’s suspicious husband, a private detective and other characters all banging in and out through the suite’s door and malfunctioning window, that’s not so easy, and the fast-talking Willey and George are pulled into an ever more elaborate set of lies and camouflages. Cooney manages to be funny without becoming lewd, which, given the premise, is quite an accomplishment, but he doesn’t stretch the boundaries of this genre.

In fact, this farce has a strong similarity to other bedroom comedies by Cooney, who is best known for "Run for Your Wife" — some of the same characters even appear in ”Two Into One.” Yet, as with the comic but repetitious plots of Thorne Smith or P.G. Wodehouse, that’s a small matter if you don’t encounter them too close together. The script provides only a modicum of the humor, anyway.

OutOfOrder6 OutOfOrder1
OutOfOrder3 OutOfOrder5

The huge hilarity of this production lies in the comic brilliance of the cast, in particular Michael B. Woods as the nebbishy George. At every turn of the plot, Woods expresses George’s appalled horror in each movement of his lanky frame and elastic, Munchlike face. The deft interplay between Woods and Andrew J. Pond’s glib, dry Willey is sidesplitting. As the tortuous plot twists its it way through abruptly disappearing corpses and unexpectedly appearing spouses, Woods just keeps getting better and better.

Sarah Tolan-Mee’s naively sexy Jane, Joe Messina‘s blustering manager and Chuck Sisson’s slow but opportunistic waiter also add notably to the impeccably timed humor. Patrick Tierney chews the scenery a bit as the rampaging Ronnie, but otherwise the cast, also featuring Amy Gorelow, Kevin Kurasch, Lisa Savegnago and Elizabeth Haley (who stood in for Nancy Kolton on opening night), never puts a foot wrong. Adam Veness’ posh hotel suite set, which includes such details as a working flat-screen TV, provides an ideal backdrop for Director David Belew’s dexterous staging.

Don’t miss this one — it’s absolutely worth a trip to the suburbs.

Rating: ★★★★

Notes: Adult themes and language. Metropolis Performing Arts Centre is two blocks from the Arlington Heights Metra station and free parking is available in the municipal garage behind the theater.