REVIEW: Hot Mikado (Drury Lane Oakbrook)

 

Nanki Poo, Zoot Suits and Dancing – Oh my!

 

(L-R) Andy Lupp (Pish Tush), Todd Kryger (Pooh-Bah) and Stephen Schellhardt (Ko Ko) star in HOT MIKADO at Drury Lane Theatre Oakbrook Terrace through October 3.

   
Drury Lane Oakbrook presents
   
Hot Mikado
  
Written by Gilbert and Sullivan
Directed by
David Bell
at
Drury Lane Oakbrook, 100 Drury Lane, Oakbrook Terrace (map)
through October 3  |  tickets: $31-$45  |  more info

reviewed by Lawrence Bommer

If imitation is the highest compliment, in 1939 Gilbert and Sullivan‘s The Mikado was praised to the skies: no less than two all-black, all-jazz versions from Chicago and from New York played opposite each other on Broadway. (Alas, they beat each other to a draw, ticket-wise.) It must have seemed as if America would swing its way out of the Depression, with some help from two dead Victorian males.

HOT_MIKADO--Aurelia_WilliamsA Drury Lane Oakbrook Theatre revival (Marriott’s Lincolnshire Theatre "premiered" this version in 1993), Hot Mikado is director/choreographer David H. Bell‘s sizzling homage to those ever-young jitterbug versions. (Purists may carp but then nothing in Sullivan’s music was any more "Japanese" than are these jazz translations, while Gilbert’s satire is timeless.) This time it’s a proscenium presentation and that gives it even more depth and scope than the original arena production.

Retaining the topsy-turvy tale of how Nanki Poo, the Mikado’s son who poses as a wandering minstrel, falls in love with the aggressively demure Yum-Yum; pursued by the voracious harridan Katisha, he’s almost executed by his rival Ko-Ko, the Lord High Executioner. The Mikado’s arrival causes instant confusion, then the requisite resolution.

Based on a successful 1986 production that Bell first mounted at Ford’s Theatre in Washington that has gone on to play London’s West End, Dublin and Prague, Hot Mikado is blessed with music director Michael Mahler‘s period-perfect musical Midas touch. It also has one of the loveliest looks of a Drury Lane show: Marcus Stephens’ set enchants illuminated Japanese footbridge, pavilion and cherry trees with leaves of fans and Japanese lanterns. Jesse Klug lights it like a rainbow in heat, though Jeremy Floyd‘s time-traveling costumes would be bright in the dark.

True to its name, Hot Mikado sizzles with David Bell‘s Lindy-hopping, be-bopping, high-stepping dances; dolled up in Zoot suits or bodice bursters, the all-dancing cast turn the Mikado’s entrance into a tap-dancing tour-de-force (led by Ted Levy’s inexhaustible Bojangles imitation in the title role) and hoof up a storm to "Swing a Merry Madrigal." "Three Little Maids" here becomes a hep-swinging Andrew Sisters ballad. The red-hot first act finale comes straight from Stork Club heaven, with a hint of gospel and a highly anachronistic allusion to disco.

 

HOT_MIKADO--Ted_Levy HOT_MIKADO--Devin_DeSantis_and_Summer_Smart

Bell’s troupe (which includes Susan Moniz, who was Yum-Yum 17 years ago in Lincolnshire) sing and dance into a lather. A throwback to classic vaudeville (as veteran Ross Lehman was in Lincolnshire), Stephen Schellhardt gives Ko-Ko alternate touches of Groucho and, even, in his crying fits, Stephen Colbert showing some sentiment. Surprisingly self-effacing even at his hammiest, Schellhardt shows the gentle wistfulness of Keaton and Chaplin and his double takes show stopwatch timing.

As the cavorting cuties, Devin DeSantis’ crooning Nanki-Poo and Summer Naomi Smart’s demure but designing Yum-Yum bring new life to "This Is What I’ll Never Do." Todd M. Kryger oozes pomposity out of Pooh-Bah and Moniz’ Pitti-Sing belts to beat the Big Band.

But the stand-out show-stopper is easily Aurelia Williams, a powerhouse to equal Felicia Fields in Bell’s Lincolnshire debut. Playing the awesome Katisha as a blues-wailing big mamma, she tears the heart out of "The Hour of Gladness" and wipes the set with "Alone and Yet Alive." No surprise that Williams got the biggest ovation at the curtain call: She supplies the heat in Hot Mikado.

Pizzazz-packed as it is, it’s still possible to wish that, color-blind casting aside, Hot Mikado was, like its original, all-black (instead of, as here, fitfully integrated). It’s weird to hear white performers sing what you know would be cooked to a crisp by a black cast. Soul singing, especially of blues standards, will belong culturally to some folks more than others. But then Marriott’s production was equally opportunistic, so I’m resigned to it.

   
   
Rating: ★★★★
 
 

REVIEW: Ragtime (Drury Lane Oakbrook)

Drury Lane scores big with epic musical “Ragtime”

RAGTIME-_The_cast

 
Drury Lane Oakbrook presents
 
Ragtime
 
Based on the novel by E.L. Doctorow
by
Terrance McNally (book), Stephen Flaherty (music), Lynn Ahrens (lyrics)
directed/choreographed by
Rachel Rockwell
at
Drury Lane Theatre, Oakbrook (map)
through May 23 (more info)

By Katy Walsh

‘What can happen in a year?’ Father’s question is an expectation that life is simple and predictable.

BF1C0838 The reality is birth, death, emancipation, persecution, obsession, syncopation. In 1906, the regularity in life takes unexpected turns as Drury Lane Oakbrook presents Ragtime The Musical. The show focuses on the lives of three groups: WASPs, blacks, and immigrants. In the New York suburbs, a wealthy family breaks the monotony with wild excursions and celebrity stalking. In Harlem, a successful black piano player decides to search for his lost love. Just off the boat, an Jewish immigrant artist and his daughter arrive with nothing but optimistic anticipation. Three distinctly different rhythms unexpectedly intersect to create a new tune. Ragtime celebrates a year in American history by paralleling the adaption of ragtime music with socio-economic changes of the time period. The results are a stunning history lesson intertwined with melodies of hope and change.

Under the skillful direction and choreography of Rachel Rockwell, the tempo never misses a beat. Rockwell strikes all the right notes with this multi-talented cast. Quentin Earl Darrington (Coalhouse) is the powerhouse of emotional range in song and act. His tune changes throughout the show – regret, love, vengeance. Darrington connects the audience with his story based on heart wrenching hope. His “The Wheels of a Dream” duet with Valisia LeKae (Sarah) is flawless. LeKae is a perfect match-up and their onstage chemistry is the epic-love-story-kind. Cory Goodrich (Mother) is marvelous in an understated and nonchalant way. Goodrich’s character changes her family’s life dramatically with simple choices. Her transformation is most baffling to Father played by Larry Adams. In a pivotal song, Adams is perplexed as he sings, ‘I thought I knew what love was but these lovers play different music.’

With inspirational paternal love, Mark David Kaplan (Tateh) chases a train for a teary-eyed audience impact. Alongside the principals, smaller and famous roles engage curiosity. Emma Goldman (Catherine Lord) influences as a social reformer. Evelyn Nesbit (Summer Naomi Smart) is the Brittany Spears of the time period…whee! Harry Houdini (Stef Tovar) mystifies as a successful immigrant. Booker T. Washington (James Earl Jones II) commands integration and respect.

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Surprisingly, this blockbuster musical starts with a stark stage. The introduction of characters is a popped up portrait of perfection. Literally, group entrances are elevated from below stage. As the three groups multiply across the stage, the unique flair of costume distinction, designed by Santo Loquasto, is a spectacular visual. Costumes, projections, lighting, moments of tasty eye candy decorate this show. From silhouettes marching to swimmers bathing, the imagery dances to the ragtime.

And there was distant music, simple and somehow sublime. Giving the nation a new syncopation.  The people called it Ragtime!’

Paralleling life’s happenstance, my performance had some twists not necessarily planned. There seemed to be an issue with lighting up the solo singers in the first few scenes. A momentary blip broke the backdrop illusion with a ‘Microsoft word computer screen’ projection. Initially, the audio seemed hollow. I was uncertain if it was a microphone or acoustic issue. It either cleared up or my engrossment made it a moot point. All in all, this production was amazing. It left me reinforced that a gesture of kindness changes life’s courses and bewildered about men’s obsessions with cars.

 
Rating: ★★★★
 

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