REVIEW: Hello Dolly (Light Opera Works)

     
     

Phenomenal dancing and singing makes ‘Dolly’ a New Year’s treat 

     
     

Mary Robin Roth (Dolly Gallagher Levi) in Hello Dolly – Light Opera Works. Photo Credit: Rich Foreman

    
Light Opera Works presents
   
   
Hello, Dolly! 
       
Book by Michael Stewart
Music/Lyrics by
Jerry Herman
Directed by
Rudy Hogenmiller
at
Cahn Auditorium, 600 Emerson, Evanston (map)
through Jan 1  |  tickets: $32-$92   |  more info

Reviewed by Katy Walsh

“Some people paint, I meddle.”  A widow makes a living as a matchmaker.   Light Opera Works presents Jerry Herman’s Hello, Dolly!, a big-hearted musical based on Thornton Wilder’s play The Matchmaker, set in 1890.

Before the parade passes by, I want to get in step while there’s still time left.” Dolly Levi wants to start living.

Dolly’s retirement plan is to marry the well-known half-millionaire, Horace Vandergelder.  Because Dolly is very good at her job, Horace IS ready to marry… Irene Malloy. Before Horace can pop the question to Irene, Dolly must strike the match.  It’s a hilarious intervention as Dolly rearranges multiple lives to marry off herself.    Hello, Dolly! is a witty, musical frolic wedded to the courtship dance.

You’re looking swell Dolly.  I can tell Dolly. You’re still glowin’, you’re still crowin’, you’re still goin’ strong. 

Mary Robin Roth (Dolly Gallagher Levi), Peter Verdico (Horace Vandergelder) star in Hello Dolly - Light Opera Works  Photo Credit: Rich ForemanMary Robin Roth (Dolly) has flawless comedic timing.  Roth delivers zesty lines with a side of slapstick, and has all the personality to anchor the show in the title role.  The musical orchestration has been adjusted for Roth’s limited singing range; her lower vocal style is robust but in moments awkward.  In solo numbers, it’s a unique rendition, but when she joins in on a brightly sung ‘Put on Your Sunday Clothes,’ Roth creates a bit of speed bump.

The best match of the show is the chemistry between Robert Brady (Cornelius) and Patrick Tierney (Barnaby).  The dynamic duo sing, dance and lampoon with charm and amusing absurdity.   Although Jessye Wright (Irene) has a beautifully operatic singing voice, it’s too serious for the light-hearted romp.  It really only works as the parody line Wright sings in ‘Elegance’ to make fun of the sophisticated.

A 22-piece orchestra, conducted by Roger L. Bingaman, sets the tempo for a splendid full-bodied musical chorus.

‘Don’t you think my dancing has a polish and a flare?  The word I think I’d use is athletic!’

The dancing IS athletic and amazing!   Rudy Hogenmiller channels Gower Champion to choreograph dance sequences that elicit applause DURING the movement.  In particular, two memorable moments are actualized by a large segment of the chorus.  First, in the parade scene, the band moves into a revolving kick line.  For a small stage and multiple dancers, the graceful high-kick turning is incredibly impressive.  In the second act, the waiters have a vigorous prolonged dance sequence.  The word I think I’d use is ‘phenomenal.’    The synchronization is perfection.  The waiters’ jumps are a harmonious spectacle.

Despite promises that ‘Dolly’ll never go away again,’ it’ll be “Goodbye, Dolly!” in a week.    So, here’s your goal again,  get in drive again, if you wanna feel your heart coming alive again… get your tickets now… before the parade, and the full orchestra, passes by!

  
   
Rating: ★★★½
 
   

Hello, Dolly! continues performances on December 27th, 29th, January 2nd at 2pm;
December 28th at 7pm; December 30th, 31st, January 1st at 8pm. All photos by Rich Foreman.

Running Time:  Two hours and thirty-five minutes includes an intermission.

Robert Brady (Cornelius Hackl), Patrick Tierney (Barnaby Tucker), star in Light Opera Works’ HELLO, DOLLY!, December 26, 2010- January 2, 2011 at the Cahn Auditorium in Evanston, IL. Photo Credit: Rich Foreman

    
     

     
     

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REVIEW: Little Shop of Horrors (La Costa Theatre)

My, What a Strange and Interesting Play!

 

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La Costa Theatre presents
   
Little Shop of Horrors
 
Book/Lyrics by Howard Ashman
Music by
Alan Menken
directed by
Dan Sanders-Joyce
Music direction by Ryan Brewster
at
La Costa Theatre, 3931 N. Elston (map)
through July 11th  |  tickets: $25   |  more info

reviewed by Keith Ecker

I have a confession. Little Shop of Horrors is my favorite musical of all time.

I have loved the play ever since I saw the movie version as a child. I own a VHS copy of the director’s cut of the film, which features an alternate ending that falls more in line with the play, and I have the Little Shop of Horrors Broadway revival cast recording, which for three months straight was the background music for my workout DSC_0494 routine at the gym. So it was with great excitement that I sat down at the La Costa Theatre, which sits above an auto shop, to see Chicago’s most recent rendition of this contemporary classic.

Overall, I can’t say I was disappointed. I think La Costa has planted the seed for an amazing production. But it hasn’t quite blossomed just yet. And if that’s not enough plant metaphors for you, I believe after a few more shows, this production has the possibility of growing into a four-star play.

Little Shop of Horrors takes place in skid row, a dilapidated, impoverished city slum. Mr. Mushnik (Peter Verdico) is the proprietor of an eponymous flower shop that, like most businesses in the neighborhood, is failing.

Mr. Mushnik employs the fragile Audrey (Ashley Bush) and the nebbish Seymour (Jonathan Hymen). Audrey dates a sadomasochistic dentist (Tom Moore) whose pastimes include riding motorcycles and domestic abuse.

Everyone’s life is pretty miserable until Seymour comes upon a strange and mysterious plant that he dubs the Audrey II (voiced by Brian-Alwyn Newland and controlled by puppeteer Paul Glickman). The plant’s mere presence creates a boon for Mr. Mushnik’s flower shop, and Seymour becomes a highly sought after celebrity.

However, Seymour harbors a terrible secret. The plant hungers, and the only thing that can satisfy its ever-growing appetite is human blood. And it demands that Seymour feeds it.

The acting is spot on. Hymen’s Seymour is the quintessential underdog nerd. He’s slouchy, he’s disheveled and he’s meek. Still, Seymour is a very passionate character, especially when it comes to matters of the heart and of ethical decisions, and Hymen transmits this with the required restraint.

Bush’s Audrey isn’t as much of a bimbo as other incarnations that I’ve seen, which is completely acceptable as Audrey isn’t stupid so much as she is incredibly insecure and self-effacing. This is a girl who honestly believes she deserves to be abused. But despite being damaged goods, Audrey is also a hopeless romantic, dreaming of one day living in a suburban home where the furniture is wrapped in plastic. Bush captures this hopefulness and hopelessness. It also doesn’t hurt that she has one of the strongest voices in the cast.

 

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I’m sure it must be very difficult to create a giant, man-eating puppet for the stage. But Glickman, who has years of experience as a puppeteer, has created a remarkable Audrey II. I was blown away by how a small independent theatre company managed to create such an amazing special effect for the stage.

There was a technical downside to the production. The sound quality throughout the play was at best adequate and at worst terrible. The balance of the vocals and the live music was completely off. Often the thump of the bass would drown out all of the singers. Even when no music played, the volume of the actors’ mics varied widely. I had hoped this would have been fixed by the second act, but, to my surprise, it was not.

Also, director Dan Sanders-Joyce didn’t do a very good job of spreading the action throughout the theater. The space is rather large, but much of the actors’ movements are relegated to a small part of the stage. This often leads to poor views for half the audience.

La Costa desperately needs to fix Little Shop of Horrorstechnical glitches. (I suppose you could say they need to nip them in the bud.) Otherwise, the company has well-crafted and entertaining production.

   
   
Rating: ★★★
 
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