Reivew: Ribbon Around a Bomb (Prologue Theatre)

     
    

New musical needs to choose an audience

     
     

A scene from Prologue Theatre's world-premier musical "Ribbon Around a Bomb" by Jess Eisenberg Chamblee. Photo by Cole Simon.

 

Prologue Theatre Company presents

 

Ribbon Around a Bomb

 

Books and Music by Jess Eisenberg Chamblee
Directed by Kiana Harris
at Mary’s Attic, 5400 N. Clark (map)
through May 3   |  tickets: $15   |  more info 

Reviewed by Jason Rost

It’s a little unbelievable and absurd to think that in 2011 any collegiate art department would exclude all female painters from a list of 45 great historical artists. Even in my own five minute research (ala Google) I could not find a single list that left out the likes of Frida Kahlo and Georgia O’Keefe. That said, it’s certainly a heavily one-sided battle of sexes in the art history world. This is at least part of what the new identity-stricken musical, Ribbon Around a Bomb by Jess Eisenberg Chamblee, which recently premiered with Prologue Theatre Company, focuses on. At one point a professor (Melody Latham) hands the audience a thesis list of historical painters, who are all men. It was not only a contrived theatrical convention, but also made me feel a little odd sitting in the cabaret bar setting of Mary’s Attic watching what, as far as I could tell, was a children’s musical. When Chamblee implements the “adult” sections though, it feels even more awkward.

A scene from Prologue Theatre's world-premier musical "Ribbon Around a Bomb" by Jess Eisenberg Chamblee. Photo by Cole Simon.The story follows a painter, Kalakara, through three phases of her life. The younger Kalakara (played with perfect wonderment and rebellion by Krysten Williams) is “haunted” by three female painters from history (Angela Alise Johnson, Melody Latham and Kathleen Wrinn). She is an aspiring painting prodigy (although we never get an actual glimpse of her artwork) whose father (Christopher Tucker) disapproves of her career choice. The ghosts are there, at first, to help guide and inspire her. The college student Kalakara (Charlitha Charleston) is traumatized by these experiences and is also dealing with her rebellion against men, particular the one man in love with her, James (a vocally challenged Lance Newton). Finally, there is the older Kalakara (Tinuade Oyelowo) who paints from her mental institution.

It is within the stories of the older Kalakaras, and their mutual haunting of each other, where the script gets muddled, pointlessly depressing and dramatically trite. Chamblee seems to suggest that the only true way to become a great artist, if you’re a female, is to embrace insanity and reject family, happiness and men. It projects a skewed feminist message.

Chamblee clearly has a knack for infectious musical numbers. However, the musical style in this play lacks unity and instead stretches to showcase a hodgepodge of numerous styles that don’t usually mesh. In addition, there is most certainly an overabundance of belting. Chamblee is clearly influenced by several contemporary composers of the musical world including Sondheim, Schwartz and Jason Robert Brown. The trick is to serve the story first and this story lends itself to more intimate and simple music than is currently written.

A scene from Prologue Theatre's world-premier musical "Ribbon Around a Bomb" by Jess Eisenberg Chamblee. Photo by Cole Simon.The cast is just about as split as Chamblee’s script. While there is some wonderful talent (most notably the impressive vocals of Charleston and Wrinn), there are also several uneven performances in director Kiana Harris’ cast. Harris’ direction serves the first half of this musical well with a decidedly presentational staging. It helps communicate the educational values and emotional relationships clearly, however it is far more suited for a middle-school audience rather than a bar full of adults. For the most part it seems that Chamblee’s script cofuses Harris’ concept – and understandably so: Chamblee’s book and music combat each other caught between a fun historical educational children’s musical revolving around themes of gender equality, and a tediously confounded psychological adult drama. For example, although Tamara de Lempicka was a mid-twentieth century Polish painter, she is instead portrayed and costumed as though she’s a 2011 “Real Housewife of the Netherworld.” This causes a confusing disconnect between her and the other ghosts who are costumed and portrayed in a more period style.

I’d say that Chamblee needs to choose one storyline, and one play to tell, however I’d strongly encourage fleshing out the tale of the young girl painter inspired by historical women who have defied sexism in the art world. She can simply drop the schizophrenia, f-bombs and stripper number that add nothing but a lack of clarity. Allow these women of the past to empower the girl rather than mentally damage her for life. In this sense she should also choose her audience, and if that happens to be a room full of 6th grade girls, then so be it. Finding strength in the past is a lovely message, and the music during these segments is the strongest. It could be cut to 45 minutes and shipped out on a children’s theatre tour. While it is clear Chamblee has greater personal musical ambitions and another deeper story to tell with bold orchestrations, Ribbon Around a Bomb may be better off simple. She can save the center stage belts and diva numbers for the next go-around of musical scribing.

   
  
Rating: ★★
     
  

A scene from Prologue Theatre's world-premier musical "Ribbon Around a Bomb" by Jess Eisenberg Chamblee. Photo by Cole Simon.

Ribbon Around a Bomb, Prologue Theatre Company’s world-premiere musical continues thru May 3rd. The play runs 1 hour and 50 minutes with one intermission. Tickets are $15. For more information visit www.prologuetheatreco.org

Photos by Cole Simon 

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REVIEW: The Wedding Singer (Circle Theatre)

 

A Sweet Wedding Confection

 

 

Wedding Singer (L-R) Kelli LaValle, Patti Roeder, Eric Lindahl, Rachel Quinn, Nathan Carroll and Shawn Quinlan. Photo by Bob Knuth.

   
Circle Theatre presents
   
The Wedding Singer
   
Book by Chad Beguelin and Tim Herlihy
Music/Lyrics by
Matthew Sklar and Chad Beguelin
Directed by
Kevin Bellie
at
Circle Theatre, 1010 W. Madison, Oak Park (map)
through October 31  |  tickets: $26   |  more info

Reviewed by K.D. Hopkins

I must make a shocking confession. I have never seen the film “The Wedding Singer”. I have however lived through the 80’s and still have the bag of removable shoulder pads to prove it. The Circle Theatre musical production of The Wedding Singer is a fun romp through the decade that was all about froth and hair looking like spun sugar. The creators – Chad Beguelin and Tim Herlihy wrote the book of the movie with music by Matthew Sklar and Beguelin have done a brilliant job bringing this 80’s-sounding score to life. 

Wedding Singer - Eric Lindahl and Rachel Quinn. Photo by Bob Knuth. Eric Lindahl plays our hero Robbie Hart with none of Adam Sandler’s snark. That is precisely why I liked him so much in this role. It is a tribute to the time when musicals were all about a girl and a guy up against the odds and winning. Lindahl has a good voice and sings the wedding schmaltz as well as the arena rock ballads. Rachel Quinn plays leading lady Julia Sullivan. Ms. Quinn has the moves to play the heroine but her voice is not made for pop music. She is reminiscent of the Rogers and Hammerstein era of musicals and does well as the bereft heroine.

Blowing the lid off of the power ballads are Kelli LaValle and Britni Tozzi. Ms. Tozzi plays bad girl Linda who channels Pat Benatar while giving Robbie Hart the heave ho. I absolutely adored Ms. LaValle as the slightly trampy best friend Holly. She is dressed in classic tulle layers and spun sugar hair- so unlike a virgin. It is a standout performance and LaValle has a powerhouse voice that rocks the rafters.

The storyline is not a surprise but it is still fun. Robbie Hart is the leader of a wedding band called ‘Simply Wed’ who gets his heart broken and falls for the local banquet hall waitress. The waitress is of course waiting for a dual-life jerk executive to put a ring on it and keep her in claw hair and sparkly duds. Hart lives in Grandma’s basement somewhere in Jersey and what a grandma she is. Patti Roeder plays the role of a frisky grandmother who pulls out the rapping chops to great comic effect. Roeder brings down the house with her double entendres and libidinous one- liners.

 

(L-R) Dennis Schnell, Michael Mejia, Nathan Carroll, Eric Lindahl, Shawn Quinlan, Tommy Bullington, Jimmy Lis and Tommy Thurston The Impersonators of The Wedding Singer - Photo by Bob Knuth
Wedding Singer (L-R) Toni Lynice Fountain, Michael Mejia, Rachel Quinn, Melody Latham and Patti Roeder Wedding Singer - (L-R) Nathan Carroll, Eric Lindahl and Shawn Quinlan

Making up the rest of ‘Simply Wed’ are Nathan Carroll in full ‘Flock of Seagulls’ regalia and Shawn Quinlan as a Boy George clone. They are very funny and touching in their bromance roles. Jim DeSelm rounds out the leading cast as Glen the blazingly arrogant Wall Street raider. He leads a fine song about money and greed as his character shows his true colors.

The rest of the cast is stellar. They are really good dancers, and the choreography by Director Kevin Bellie is great nostalgic fun to watch. The Las Vegas scenes are hysterically surreal with a cornucopia of classic characters as Vegas impersonators. This goes way beyond Elvis and deep into ‘Behind the Music’ territory with Patti Labelle, Michael Jackson, Billy Idol, Imelda Marcos (!) and a brilliant cameo by Dennis Schnell as Sam Kinison.

The Wedding Singer is well worth the travel to Oak Park.  Don’t miss it!

   
   
Rating: ★★★½
  
  

FYI: I would advise getting there early to have dinner before the curtain because the sidewalks roll up in Oak Park at 10pm.The Wedding Singer runs through October 31st at The Performance Center, 1010 W. Madison St. in Oak Park (map). Go for some great music, laughs, romance, memories, and great ideas for Halloween! The Performance Center is accessible by Metra as well as the CTA Green Line. Shoulder pads and claw hair are optional.

Wedding Singer (L-R) Sarah Conrad, Rachel Quinn, Kelli LaValle, Kendle Lester, Kristen Calvin and Britni Tozzi

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REVIEW: Best Little Whorehouse in Texas (Circle Theatre)

One small BIG thrill

 The Men of BLWIT

 
Circle Theatre presents
 
The Best Little Whorehouse in Texas
 
Book by Larry L. King and Peter Masterson
Music/Lyrics by Carol Hall
Directed and choreographed by Kevin Bellie
Music Direction and new arrangements by Josh Walker
Circle Theatre, 7300 Madison, Forest Park (map)
Thru June 20th (more info)

Reviewed by Katy Walsh

Whores, hookers, ladies of the evening, oh my! – prostitution is the oldest profession in the world and perhaps the most misunderstood. Circle Theatre presents The Best Little Whorehouse in Texas, a musical exposing the softer side of the sex trade industry. Based on a true story, a Texas amusement institution has provided adult entertainment over the centuries. During the depression era, pleasure seekers paid for thrills with poultry which led to the nickname, “chicken ranch.” The kind-hearted Michael Gravame and the boys madam, Miss Mona, operates a clean business focused on guest satisfaction. Her well-known establishment has the endorsement and protection of the local sheriff. All that changes, when a television reporter crusades to shut it down. The Best Little Whorehouse in Texas isn’t your street corner hooker production, however. It’s your high class call girl with impressive moves and a revolving wardrobe ensuring your fantasy investment reaps multiple benefits.

This show is all about the show. Twenty-five cast members with multiple costume and wig changes dress up this non-stop energetic production. Under the direction and choreography of Kevin Bellie, musical numbers are a visual spectacle. Bellie chooses to make The Best Little Whorehouse in Texas a love affair instead of a “quickie.”  Hookers to TV back-up singers to cheerleaders to reporters, Bellie uses a large number of the chorus in every scene. This choice adds dimensionality to the depth of the songs and dances. Going “Texas-style big” aids a few sound issues. For some of the solo singing moments, it’s hard to hear the lines. During “Little Bitty Pissant Country Place,” there is an awkward duet between Miss Mona and a guy in the band. Cue the chorus! When the whores chime in, the harmony is ecstasy. Whether it’s singing or dancing, the ensemble uses its size to go deeper. The synchronization of the large number of dancers on a small stage kicks it up to the “wow” factor. “The Aggie Song”, in particular, is sexy country-line dancing with an athletic vigor. It’s Dirty Dancing taken to a whole new level!

Anita Hoffman and Noah Sullivan Kirk Swenk, Gregory Payne and the ladies
Sheana Tobey, Snita Hoffman, Sydney genco and Toni Lynice Fountain Noah Sullivan, Christopher Boyd and Jen Bludgen

Along with the huge and talented chorus, principal players add to the entertainment value. Every hooker should be lucky to have a boss like Miss Mona (Anita Hoffman). Balancing maternal urges in a cheeky business, Hoffman commands the stage with a combo of sexy playfulness and compassionate wisdom. Not quite meshing into the frothy ensemble, Toni Lynice Fountain (Jewel) shines with a soulful rendition of the song “24 Hours of Lovin”.  Noah Sullivan (Sheriff Earl Dodd) delivers his irreverent lines with hilarious force. ‘If that three foot man comes back, I’m going to flatten him so he has to roll down his socks to shit.’ Michael A. Gravame (Melvin P. Thorpe) is a smarmy dolt mugging the comedic moment. The issue side-stepping politician, Kirk Swenk (Governor) makes a small part memorably funny. The entire cast whores itself out for the audience’s pleasure.

The extraordinary spectrum of costumes (Jesus Perez) and wigs (Michael Buonincontro) are a 70’s flashback of afro, peasant blouses, and Frederick’s of Hollywood fun. Costumes, cast, choreography; all the lubricated participants make this group orgy a love fest!

 
Rating: ★★★
 

Showtimes: Fridays & Saturdays @ 8:00 pm, Sundays @ 3:00 pm (buy tickets).  Group Rates for 10 or More Available.  Call 708-771-0700 for more info.

Running Time: Two hours and twenty minutes includes a ten minute intermission.

 The cast of BLWIT

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