REVIEW: A Chorus Line (Marriott Theatre)

Gotta Dance!

 

Chorus Line at Marriott

   
Marriott Theatre presents
   
A Chorus Line
   
Music by Marvin Hamlisch, Lyrics by Edward Kleban
Book by James Kirkwood and Nicholas Dante
Directed by Mark Lococo
at Marriott Theatre, 10 Marriott Drive, Lincolnshire (map)
Through October 31  |  tickets: $35-$48  |  more info

reviewed by Lawrence Bommer

Mara Davi as Cassie - Chorus Line MarriottCelebrating its 35th anniversary in a terrific revival staged by Mark Lococo, A Chorus Line remains the late Michael Bennett‘s breakthrough backstage musical, winner of nine Tony Awards and the Pulitzer Prize. In this "show before a show" the parts–the 17 dancers–outweigh the whole. That greater good is an imaginary musical where, as the hoofers swagger in Nancy Missimi’s gold lamé suits against massive mirrors, their Broadway fantasies come true. But by then we know “what they did for” dance.”

Most musicals are examples of art imitating life. Not so A Chorus Line. It fascinates because its constantly young cast insure that this show is a textbook case of life imitating art imitating life. (Actors in 2010 who could be the children of the 1975 cast are creating the 1975 creation that was itself inspired by the reality of 1975 dancers.) The recessed mirrors in Marriott’s Production perfectly symbolize the backstage, show-before-a-show nature of this unconventional depiction of the creation of a very conventional Broadway musical. (Remember: The finale, “One Singular Sensation,” is really intended as a backup to a star of the Streisand, Verdon or Ann Miller persuasion. “Chorus Line” may be all about dance but the “outside” musical that they’re creating is not.)  

It’s ironic that, after we get to know the "dance gypsies" chosen from the 24 who endure this grueling try-out, the survivors get swallowed up in "One," this massive finale where what counts is the lockstep anonymity of a kick line. The humanity that went into the song-confessionals, where the auditioners testified to the resilience, sexiness, escapism and transience of their trade, yields to the conformity of interchangeable parts. This "one singular sensation" is American individuality feeding American efficiency. Another all-too-American quality, at least at this stage of the recession, is the desperation that surges through “I Need This Job.”

 

Anika Ellis as Shiela - Chorus Line Marriott Bryan Knowlton as Paul - Chorus Line Marriott
Chorus Line - One Singular Sensation Nina Fluke as Val - Chorus Line Marriott
Chorus Line Cast - Marriott

Before that chorus/assembly line closes ranks, we’ve felt the full diversity of the dancers, as preserved from interviews that Bennett did with the original dancers some 35 years ago. It’s ironic that the current dancers may have their own stories but they’re in effect prisoners of the musical’s now-distant past.

In Lococo’s devoted reprise of this not-so-retro musical, a second (or third?) generation solidly replay the life stories of the 1975 originals, slinking and strutting their way through Bennett’s pizzazz-packed choreography (here re-imagined by Rachel Rockwell) and tearing into Marvin Hamlisch‘s sturdy score. This arena staging may be in the round but the mirrors work even better than in a proscenium  production. They may not suggest many more dancers than the cast itself but the recessed effect makes it look like we’re seeing memories as much as moments here.

Adam Estes as Gregory - Chorus Line MarriottFleshing out showbiz stereotypes with true-life immediacy, Alexander Aguilar relishes the effortless bravura of "I Can Do That" and Pilar Millhollen belts out the tough-girl wisdom of "What I Did for Love." As Sheila, the aging but indomitable siren, Anika Ellis purges her past in "At the Ballet," while Nina Fluke reinvents Val’s surgical saga in "Dance: Ten; Looks: Three."

In the one unsung solo, Bryan Knowlton digs heartache from Paul’s tale of a gay dancer unexpectedly accepted by his family. Registering the full joy of moving fast, buffed-up Max Kumangai is a blurry revelation.

As he shapes the audition-rehearsal with God-like omniscience, Chicago favorite Tim Gregory brings easy authority to confessor-choreographer Zach, though his soap-opera showdown with Cassie, his old flame, seems perfunctory. Undeterred, Broadway notable Mara Davi (who appeared in the recent revival) throws herself into "The Music and the Mirror," Cassie’s tour-de-force dance sequence. It should feel as if everyone who ever danced the part were with her but on opening night she seemed to lose her terpsichorean motivations and it fell flat.

First and always, the revival confirms the continuing cause for its docu-tribute: Bennett’s high-strutting, soul-stirring dances are a perfect match for the aspirations this musical will always extol.

   
   
Rating: ★★★★
   
   

Chorus Line - One Singular Sensation2

 

   
   

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REVIEW: High School Musical (Drury Lane Oakbrook)

Tweens need escapism as much as adults do

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Drury Lane Oakbrook presents
 
High School Musical
 
Directed/Choreographed by Rachel Rockwell 
100 Drury Lane, Oakbrook Terrace
(map)
through May 22nd | tickets: $10 | more info

Reviewed by Aggie Hewitt

High School Musical, currently playing at Drury Lane Oakbrook, is a kind of bubble gum Romeo and Juliet for kids. Troy and Gabriella are teenagers from different cliques, she’s a brain and he’s a jock. But they fall in love anyway, and decide to shatter expectations by auditioning for the school musical, sending queen bee drama queen Sharpay into a jealous rage. In the end, they land the parts, fall in love, and even soften Sharpay up a little, all because they refused to stay faithful to their stereotypes. It’s nice to tell kids that they’re going to be alright in high school, if they just "are themselves." Unfortunately, life is not as simple as this, especially for children. In one of the great high school dramas of all time, My So-Called Life, the main character, Angela, reveals in a voice-over, "people are always telling you to ‘be yourself’ like yourself is this definite thing, like a toaster." In the super catchy, and cheerfully choreographed number "Stick to the Status Quo", which takes place in the cafeteria with all of the students present, a basketball player reveals that he actually loves to bake, and a bookish prep reveals that she loves to dance to hip hop, but are these actually feelings that children, who are emotional human beings can relate to? Does this actually mean anything to kids? Or is the simplistic message just a marketing device, to trick parents into believing that there is substance to this poppy, flirty, love story for children?

high-school-musical_2TIMP_20137 The High School Musical franchise is a commercial creation. Originally a Disney Channel T.V. movie, the brand has expanded to encompass a quadruple platinum soundtrack, two sequels, including High School Musical 3: Senior Year which received theatrical release and is the highest grossing movie musical in an opening weekend of all time, as well as the condensed 70 minute stage version playing at Drury Lane.

The cheery “EHS (East High School”) banners strewn about the great grey daunting faux stone proscenium that was created for the main stage production Ragtime give the show the creepy look of a fascist victory party run by high school students. But happily, High School Musical also shares main stage director/choreographer Rachel Rockwell, who speedily and clearly moves the show along . The choreography is poppy and fun, and was conceived with a high school mentality but a sophisticated ability. Additionally, there is some stand out talent in the cast, most notably Elana Ernst, whose super-sassy Sharpay is a magnetic pleasure to watch.

Children love High School Musical because of it’s upbeat, catchy songs and attractive cast. And besides being funny, it also and presents to kids – who are still years away from high school – a totally non-threatening fantasy about what they can expect when they enter the daunting world of the big kids. There is nothing wrong with a show like High School Musical; kids need escapism as much as adults do. But during the finale of High School Musical, when Max Quinlan as Troy pulls an amazing stunt where he lands the lead role in the musical, while concurrently winning the big basketball game and defeating bad girl Sharpay all through the magic of being himself, it makes one recall a scene at the beginning of the show, in which Sharpay auditions with an incorrectly uptempo interpretation of "What I’ve Been Looking For." Her partner is not the studly star basketball player, but her flamboyantly gay twin brother Ryan, played by the talented and funny Sean Michael Hunt. Sharpay and Ryan’s interpretation becomes the subject of vague mockery, and although it’s catchy, it’s not right, it’s not the status quo. Surely it takes a strong sense of self to face drama auditions, locked arms with your gay brother and demand that you be cast as lovers in the school play. But here, her sense of self is not rewarded, it’s punished because it conflicts with the needs of her cooler counterparts. Perhaps, High School Musical‘s message of be-true-to-yourself-and-all-will-be-well is conditional on how popular you are, which, when you think about it, is a rather bleak conclusion for those teens not on the A-list.

 
Rating: ★★½
 

The performance schedule for HIGH SCHOOL MUSICAL is Tuesdays through Saturdays at 10 a.m. with select performances at noon, 1 p.m., 7:30 p.m. Please call 630.530.0111 or visit www.DruryLaneOakbrook.com for the exact schedule, as some show times and dates may vary.

CAST: HSM stars Max Quinlan as Troy Bolton and Summer Smart as Gabriella Montez. The cast also includes Elana Ernst as Sharpay Evans, Sean Michael Hunt as Ryan Evans, Brandon Koller as Chad Danforth, Caitlainne Guerreri as Taylor McKessie, Jonathan Weir as Coach Bolton, Rebecca Finnegan as Ms. Darbus, Natalie Berg as Kelsi Neilson, Nina Fluke as Martha Cox, Jackson Evans as Jack Scott, Travis Turner as Zeke Baylor, and Zach Zube as Ripper.

CREATIVE TEAM: Joining Rachel Rockwell as Director and Choreographer are Jesse Klug (Lighting Designer), Erika Senase (Costume Manager), Brad Gonda (Technical Director), Kristin Ligeski (Wardrobe Supervisor), Jeff Dublinske (Sound Engineer) and Sophia Briones (Props Master). Kristi Martens is Stage Manager.

Review: Drury Lane’s “Thoroughly Modern Millie”

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Drury Lane Oakbrook presents:

Thoroughly Modern Millie

by Richard Morris, Jeanine Tesori and Dick Scanlan
directed by William Osetek
thru December 20th (ticket info)

Reviewed by Timothy McGuire

The traditional Thoroughly Modern Millie is given a new breath of life in Drury Lane’s high quality, highly energetic and enjoyable new musical, directed by William Osetek. From top to bottom, set to song, this is a near flawless performance of traditional musical theatre produced with Broadway-like standards – just  on a smaller scale.

thoroughly-modern-millie-3 Thoroughly Modern Millie is the story of a young woman who has moved to the big city in search of becoming a “modern woman,” one in search of wealth not love. Set in the early 1920’s, when the social and economic climate is changing, especially for women who have recently joined the work place and have a new independence when seeking happiness. With nowhere to go she takes refuge in a hotel that houses other single women, most of whom are out-of-work actresses, but unknown to Millie and the other girls the hotel is also a front for Mrs. Meers “white-slave” trafficking business. Unaware of the dangers around her, Millie is stubbornly set on marrying her rich boss and decides that there is no room for love in a modern woman as she flirts to get his attention.

Millie is magnificent. Holly Ann Butler makes her Drury Lane debut as Millie, and her tremendous talents stand out in every aspect of her performance. She can sing (whoa can she sing) dance, act and is innocently beautiful on stage as she takes the audience through the streets of New York as designed by Kevin Depinet.

Kevin Depinet has designed an open stage with a towering 3-dimensional backdrop of Manhattan creating depth and distance on stage. The huge buildings have a romantic feeling intensified by the changing colors and brightness that shines through the windows of each building depending on the time of day. The set hovers over the cast creating a visual sense of the magic that exist downtown.

The choreography is exceptional, and gives one an example of the meaningful influence that top-notch choreography can have with the plot and overall enjoyment of a production. Tammy Mader’s choreography brings the book and songs together, fluidly portraying individual emotions; creating entertaining numbers that enhance the feelings surrounding the stage.

The production really picks up in the second act where the choreography gets even more complicated, with surprise quirky moves, and the plot thickens with a merry-go-round of love interests to go along with Mrs. Meers increasingly deviant plan of kidnapping white-slaves. Millie’s journey to discover the value of true love rather than the materialistic measures of success is guided by the wealthy Muzzy (Melody Betts), and everyone finds their way to true love and happiness – well almost everyone.

thoroughly-modern-millie-2The energetic musical numbers throughout the production are led by truly gifted voices and enhanced by the full production of each song. Actresses and actors like Holly Ann Butler, Randall Dodge and Melody Betts are performances in themselves, and it is a special experience to hear a group of talented vocalists sing together at such a high caliber. My personal favorite is the deep baritone voice of Randall Dodge as Millie’s boss.

Along with the spectacular songs, a ton of comedy is slipped into the plot and brought out especially well by gifted and seasoned actresses like Paula Scrofano (Mrs. Meers,) and Sharon Sachs (Mrs. Flannery), who connect well to the audience with their well-timed antics displaying the off-beat personalities of their characters. Richard Manera and Paul Marinez (Ching Ho and Bun Foo) also bring continuous laughter into the musical with their expressive remarks and interactions with Mrs. Meers.

Drury Lane’s Thoroughly Modern Millie is a top notch professional production that is as good as any musical you will see of this size. The cast is filled with talented stars, the creative team is at its best, and the stage is strikingly magical. For musical theater lovers, this is the show you want to see.  And for those new to the theater, this might be the musical that sucks you in to Chicago’s musical theatre scene.

Rating: ★★★

 

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