REVIEW: Seven Brides for Seven Brothers (Drury Lane)

 

Dynamic choreography, rousing leading lady save flawed musical

 

 (L-R) Cara Salerno, Vanessa Panerosa, Amber Mak, Hallie Cercone, Abby Mueller, Katie Huff, and Amanda Kroiss star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

        
Drury Lane Oakbrook presents
   
Seven Brides for Seven Brothers
   
Book by Gene del Paul, Al Kasha and Joel Hirschhorn
Music/Lyrics by Gene del Paul, Al Kasha, Joel Hirschhorn and Johnny Mercer
Directed by Bill Jenkins
Musical Direction by
Roberta Duchak
at
Drury Lane Theatre, Oakbrook Terrace (map)
through December 19  |  tickets: $31-$45  |  more info

Reviewed by Oliver Sava

In the 1954 movie musicalSeven Brides for Seven Brothers”, when men kidnap women and trick them into marriage, it’s not Stockholm syndrome, it’s love. “Seven Brides for Seven Brothers” is one of those movie musicals that is a product of its time, when women were looked at as little more than glorified housekeepers and baby makers, born to do the will of their man. When Adam Pontipee (Steve Blanchard) deceives the sassy Milly (Abby Mueller) into marrying him, his six brothers set out to capture wives for themselves, ambushing six town girls and throwing them in the back of their wagon. It’s offensive, but the music is jovial and melodic, the dancing is energetic and plentiful, and the film’s leading man Howard Keel’s booming voice and charming smile make it difficult to despise the chauvinistic Adam.

(L-R) Richard Strimer (Benjamin) and Abby Mueller (Milly) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett BeinerMy problems with the stage adaptation of Seven Brides for Seven Brothers arise from its attempts to flesh out the characters, which sounds like a good thing but ends up backfiring by making them even shallower. The solos do very little to make you sympathize with the characters, with Milly’s “One Man” beginning as a condemnation of her husband’s trickery before devolving into a tribute to female subservience. Conversely, Adam’s big Act Two moment of redemption “Where Were You?” attempts to justify his sexism by giving him a daddy complex, blaming his actions on his absent father instead of taking responsibility himself. It’s not difficult to assume that Adam’s behavior is a product of his environment, but when it is put into song it just makes the already unlikable character seem pathetic. Blanchard’s vocals don’t help matters, lacking the timbre and strength expected from an 1850 frontiersman. And while the added ensemble numbers manage to evoke the musical style of the film, the solos and smaller group sequences have a contemporary feel that is out of place with the rest of the show’s classic musical theater sound.

The highlight of the production is easily Milly and her relationship with her six brothers-in-law. Mueller’s crystal clear tone and powerful belt make her musical numbers stand out, and she has great chemistry with her new relatives as she assumes a dominating mother position in the household. Watching the brothers transform under Milly’s feminine influence is a joy, from learning to dance in “Goin’ Courtin’” to finally appreciating their women in the heartfelt “Glad That You Were Born.” With the brothers, there is evidence of a struggle between the uncivilized way they’ve been brought up and the restraint that makes for successful courting. “We Gotta Make It Through The Winter” is a hilarious exclamation of horny frustration, but it is followed by Daniel (William Travis-Taylor) and Frank (Brandon Springman) ruminating on the somber effects of loneliness in the beautiful “Lonesome Polecat.”

 

(L-R)  Abby Mueller (Milly) and Steve Blanchard (Adam) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner (L-R) Richard Strimer, Jarret Ditch, William Travis Taylor, Chris Yonan, Brandon Springman and (back) Zach Zube star in Seven Brides for Seven Brothers.  Photo by Brett Beiner.

The brothers learning to dance comes in handy for Tammy Mader’s intense, dynamic choreography. Maybe the reason Adam and Milly’s romance never blossoms on stage is because they don’t have a nice dance together like the brothers and their brides. There isn’t much depth to these characters and their affection for each other, but the substance appears in their dancing, when the chemistry really ignites. The extended town dance sequence in Act I is a mesmerizing affair, albeit a little chaotic and unclear at times, while an Act II all-bride dream ballet brings some sensuality to the affair.

Like the film, this production is propelled by its dancing, but bodies in movement can’t overcome all the flaws of the writing. The changes to the film give the story a more modern context, and the attempt to psychoanalyze the characters through song removes much of the musical’s charm. Drury Lane’s Seven Brides for Seven Brothers is a polished, well-performed production, but the questionable source material prevents it from rising to true greatness.

   
   
Rating: ★★½
   
  

(L-R) Chris Yonan, Hallie Cercone, Jarret Ditch, and Cara Salerno star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

 

Continue reading

Review: Marriott Theatre’s “Hairspray”

Marriott Lincolnshire brings the beat and never stops

 hairspray3

Marriott Theatre presents:

Hairspray

by Marc Shaiman, Mark O’Donnell and Thomas Meehan
directed/choreographed by Marc Robin
thru December 6th (but tickets)

reviewed by Oliver Sava

Hairspray4 The genius of Hairspray is its pulse; when the show starts moving it never slows down, a feat accomplished by the retro rock n’ roll stylings of Marc Shaiman’s music and a hilarious but socially conscious book by Mark O’Donnell and Thomas Meehan. Exquisitely directed and choreographed by Marc Robin, Marriott Lincolnshire’s Hairspray captures the limitless energy of the early 60’s with the kind of finesse that makes it all look so easy.

Not enough can be said about Robin’s creative prowess, seamlessly maneuvering his actors around the tricky stage of Marriott’s in-the-round theater. When all 29 actors in the cast perform the show’s final number to all four sides of the house, the rush is exhilarating. Of course, it helps that Robin is assisted by a cast of the city’s top musical theater talent and Chicago newcomer Marissa Perry, who comes straight from Broadway where she played the fifth and final Tracy Turnblad.

Set in 1962 Baltimore, Hairspray tells the story of spunky teenager Tracy’s mission to become a star on “The Corny Collins Show” and date hunky Link Larkin (Billy Harrigan Tighe) while overcoming her overprotective mother Edna (Ross Lehman) and the bitchy Barbie mother-daughter duo of Velma and Amber Von Tussle (Hollis Resnick, Johanna McKenzie Miller). When the dance moves Tracy learns from black classmate Seaweed J. Stubbs (Joshua Breckenridge) in detention make her Baltimore’s hottest sensation, she sets out to integrate her favorite television show with the help of best friend Penny Pingleton (Heidi Kettenring) and Seaweed’s brassy mother Motormouth Maybelle (E. Faye Butler).

Hairspray1

Perry is pitch-perfect as the show’s protagonist, and she brings an infectious energy to the stage that not only spreads to her costars, but the audience as well. When she squeaks out the first notes of the show’s opening number “Good Morning Baltimore” there is no doubt that this is a role that fits her like a glove. The powerhouse vocals and amazing comedic timing of Butler and Kettenring make their scenes with Perry crackle with energy, and watching Lehman’s Edna burst out of her shell and embrace her buxom beauty is heartwarming. Breckenridge gives Seaweed an unbridled sensuality that adds a layer of grit to his dirty dancing, (but there were moments when his vocals paled in comparison to his costars). Marriott’s Hairspray is musical theater at its finest, and should not be missed.

Rating: ««««

 

Hairspray2

Continue reading