Review: Nunsense (Metropolis Performing Arts Centre)

     
     

Old habits die hard

     
     

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Metropolis Performing Arts Centre presents

    
    

Nunsense

   
Book, Music and Lyrics by Dan Goggin
Directed by David Belew
at Metropolis Performing Arts Centre, Arlington Heights (map)
through June 19  | 
tickets: $35-$43  |  more info

Reviewed by Jason Rost and Dan Jakes

At times, it seems that contemporary nuns exist solely for the purpose of parody. Dan Goggin’s 1985 musical Nunsense, stemming from his line of nun-humored greeting cards, was revolutionary when it came onto the scene with the inappropriate light it shed on the Sisters from Hoboken. Presently, Catholics aren’t in a great place for satire. Financial trouble, dwindling numbers, lawsuits and mainstream appeasement make the once-dominant entity lean closer to the Little Man than the Oppressor. Satire, of course, is all about poking holes in austerity and knocking the Big Man of his ladder; the Church has done a fine job of that on its own. Goggin’s play is more of a Nunsense3nostalgia-bath than a roast, but even so, with Catholics dismissing old-school severity and hands-off ornamentation in favor of a more accessible image, jokes dependent on being silly or naughty with full-habit donned sisters just don’t have the pop they used to. Nevertheless, Metropolis’ production certainly rejuvenates the undeniable phenomenon.

The morbidly clever conceit is that 52 Sisters have died after being poisoned by the convent cook, Sister Julia Child….of God. The surviving nuns were at bingo that night and skipped out on the killer soup. In order to raise money to bury the remaining dead nuns, Sister Mary Regina (Nancy Kolton) organizes a nun-produced fundraiser talent show. The proceedings offer belting nuns, the amnesiac nuns, the cooking nuns, the nuns getting stoned, the nuns kick line-dancing, the nuns shuddering at the scandalous length of Marilyn Monroe‘s skirt, and the nuns mispronouncing pop culture references. Mere redundant gags, they aren’t. No, these are test subjects, empirical data in an unscrupulous study that combs every aspect of convent-oriented humor which lead to the likes of Sister Act and Late Nite Catechism.

When entering Metropolis’ gorgeous Arlington Heights performing arts centre, you may think you’re entering the space of ATC’s Original Grease as the scenic designer, Michael Gehmlich, has created a set that perfectly mimics an old Catholic high school gym-atorium with glittery hand painted Grease posters complimented with Jesus on the cross in stained-glass illuminated above in the rafters. Yousif Mohamed’s lighting design expertly fills the expanse of the space and the light shifts play to the comedy sharply.

Director David Belew draws crisp energetic performances from his talented cast. Kristen Gurbach Jacobson’s choreography is the perfect mix of skill, camp and parody. The multi-talented Nancy Kolton as Sister Mary Regina ultimately carries the show by investing everything into the role, including a hysterical drug trip in which she gives her whole body to. Amy Malouf (Sister Mary Robert Anne) notably ascends above the sentimentality with her spot-on Brooklyn accent and her performance of “I Just Want to Be a Star.”

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The success Nunsense and its sequels have enjoyed over the past two and half decades is nothing to shake a ruler at. You might even call Goggin’s shows “Nunsations” (oh wait, he already gave sequel number six that title). After glancing around at the Metropolis audience, it was easy to see why: buried shallowly under stabs at modernization (Snooki and Donald Trump references, anyone?), this nun-humor is an excuse to reminisce. Current and recovering Catholic school alumni eat up an allusion to student-herding clickers. The rest of the proceedings are slathered in well-meaning silliness and elbow-nudging puns.

If you did happen to grow up going to Catholic school, and you haven’t experienced Nunsense, Metropolis’ production is about as fun as this show gets, so “get thee to a nun-…” well, just check out this fine revival of a silly musical sensation that seems to be sticking around at least as long as there are baby boomers still around to repent.

  
  
Rating: ★★★
  
  

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Performances of Nunsense continue through June 19th. Schedule varies week to week and includes evening and matinee performances. The running time is approximately 2 hours with one intermission. Tickets range $35 – 43 and can be purchased online at www.metropolisarts.com or by calling the Box Office at 847.577.2121.

     
     

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Review: The Butler Didn’t! (Metropolis Performing Arts)

     
     

Jewel heist hits familiar farce notes

     
     

'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights

   
Metropolis Performing Arts Centre presents
   
The Butler Didn’t!
   
Written by Scott Woldman
Directed by Brad Dunn
at Metropolis Arts Centre, Arlington Heights (map)
through April 17  |  tickets: $35-$43  |  more info

Reviewed by Dan Jakes

For anyone who doesn’t look closely at the Metropolis Performing Arts Centre’s promotional materials for its new comedy The Butler Didn’t!, it would be easy to miss that key little word: “new.”

It isn’t. Resident playwright Scott Woldman’s mansion-crime-caper is a venerable checklist for a theatrical form that’s seen its heyday come and go, unabashedly marking off the requisite +5 doors, spastic pace, ‘uh-oh’ twists, and ludicrous premise. Expectedly, the women are sex-obsessed, the men are idiots, and the title-butler is a combination of both. Splash in a little of Neil Simon and a bit of Moliere’s The Imaginary Invalid, and you have a sense of the universe where con-artist and faux-Brit butler Rick resides.

'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington HeightsThat’s not necessarily a bad thing. Woldman’s play admittedly doesn’t do much to forward farcical conventions; at times, the lack of audacity is frustrating–it feels like some of the stones laid by the show’s nontraditional darker tone are left unturned–but as it stands, his comedy is fit to sit comfortably alongside more recognizable staples.

Rick (Michael B. Woods), alongside his wise-cracking, why-does-the-Hispanic-always-have-to-be-the-landscaper side-kick Ernesto (Richard Perez), is in the final phase of his Job to End All Jobs at the Podmore estate. With his billionaire boss (David Belew, capable, albeit a little young) asleep upstairs, Rick and Ernesto take a crack at the safe, before (of course) all hell breaks loose. Lies cover lies, mischief proceeds mischief, and innuendo occurs just about everywhere else.

Situational comedy is usually dependent on characters’ perception of high stakes in low-stakes circumstances, a discrepancy only seen by the audience. Suspension of disbelief is mandatory when viewing anything that aims for ‘wacky,’ and The Butler Didn’t! sacrifices some of those required stakes by asking for more than its fair share. Say, when Mr. Podmore’s lawyer, Anna (Elizabeth Dowling) goes gaga at the sight of Ernesto, it’s challenging to stay invested. One second she’s a menacing professional capable of shutting down the entire operation; the next, she’s nearly orgasming in her pant suit. In farce, tinkering too much with plausibility downgrades the humor, an offense both Woldman and director Brad Dunn commit.

     
'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights 'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights

The silliness is so-so, and like most farces, it could shave off half an hour. When the Metropolis allows itself to push the envelope a bit, however, the true potential of The Butler Didn’t!’ emerges. At the performance I attended, the audience was more receptive to riskier jokes. Perhaps the Metropolis doesn’t want to offend the sensibilities of its ticket holders. Restraint is admirable; big scores require going all in.

  
  
Rating: ★★½
  
  

'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights

     
     

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REVIEW: 25th Annual Spelling Bee (Metropolis Arts)

 

Who knew spelling could be so much fun?

 

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Metropolis Performing Arts Centre presents
   
The 25th-Annual Putnam County Spelling Bee
   
Music/Lyrics by William Finn 
Book by
Rachel Sheinkin
Directed by
Robin M. Hughes
Metropolis Arts Centre, 111 W. Campbell, Arlington Heights
through November 6  | 
tickets: $35-$43   |  more info

Reviewed by Allegra Gallian 

For children who enjoy spelling, a spelling bee is to them as football or baseball is to children who enjoy sports. In Metropolis Performing Arts Center’s production of The 25th Annual Putnam Spelling Bee, based on the original play C-R-E-P-U-S-C-U-L-E by The Farm, children of various backgrounds and school districts to come together for one goal: to win the bee and move on to nationals in Washington D.C.

Productions - Spelling Bee - 29 The set, designed by Adam L. Veness, boosts clean, simple lines and looks high quality and authentic. The stage is transformed into a school gym complete with basketball court, bleachers and a climbing rope. School colors are yellow and purple, reflected in the lighting by Yousif Mohamed, which adds depth to the set.

The 25th Annual Putnam Spelling Bee opens strong, with the entire cast exuding energy right from the start. Each character brings their own strength to the stage with a catchy and upbeat opening number. This play also calls for audience interaction, which not only bring the audience into the story, but also allows for audience members to experience what it’s like to be on the opposite end of theatre. All the audience members who participated did a good job and added some extra laughs to this already funny show.

As the Bee begins, it becomes clear that each actor worked hard to develop a unique characterization. Logainne Schwartzandgrubernierre (Justine Klein) is sweetly adorable with her lisp. As the show goes on, it becomes clear that under that demeanor is a lot of pressure and expectation to live up to. Klein does an excellent job of rounding out her character and providing multiple layers to keep her character from falling flat. Olive Ostrovsky (Kristine Burdi) has a wonderful childlike innocence and she’s so eager to participate. Burdi has a rockin’ voice that’s on full display in “The I Love You Song,” which also allows her to show the pain Olive is in beneath her cheerful front.

As the Bee goes on, the students prove to be terrific spellers, spelling a random selection of words, as they offer glimpses into their personal lives. Returning Bee champ Chip Tolentino (Ryan Hunt) gets knocked off his horse when a crush on a girl deters his mind and he misspells a word, disqualifying him from nationals. Hunt offers up strong, stellar vocals and is hilarious as he sings about the troubles of teenage boys and puberty in “Chip’s Lament.” Leaf Coneybear (Patrick Tierney) tells about his large family and where he fits in their grand scheme of things in “I’m Not That Smart.” Tierney clearly explored his character’s background and motivations, which come through in his performance. He’s fascinatingly endearing as we witness his winning spelling technique: he falls into a trance, and the letters just come. James Nedrud is spot on with know-it-all William Barfee. Nedrud plays his character acting older than he is and trying to be very serious, which is just hilarious.

 

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Throughout The 25th Annual Putnam Spelling Bee, the entire cast keeps up their energy level, keeping the show running smoothly along and the audience engaged. The musical numbers are high energy and feature excellent choreography by Kristen Gurbach Jacobson. What is most impressive is that the singing never suffers during the dancing. The actors are able to continue singing strongly and passionately as they dance around the stage. At a few points the singing fell out of tune, but it never took away from the enthusiasm and enjoyment of the show.

The 25th Annual Putnam Spelling Bee is a children’s show for adults that leaves the audience laughing as they cheer on the Bee contestants.

   
   
Rating: ★★★½
  
  

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The 25th Annual Putnam Spelling Bee plays at Metropolis Performing Arts Center, 111 W. Campbell St., Arlington Heights, IL, through November 6. Tickets cost $35 to $43 can be purchased through the theatre’s Web site.

     
     

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

Still in need of some ‘crisis’ management

 

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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: ★★
  
  

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