The greasers are back! When the Pink Ladies and the T-Birds descend onto a stage, you know that you’re in for some nostalgia. Marriott Theatre’s new production of Grease brings just that.
A story of young love, Sandy and Danny meet at the beach and spend a summer together. When school starts, they both assume they may never see each other again. After a setup by their friends, they find that they attend the same high-school. Can “summer Danny” be the same guy he was at the beach? And can “summer Sandy” be cool enough for the Pink Ladies and the T-Birds? Those are the questions that need to be answered.
The play of Grease is different from the movie, so don’t go to the theater expecting to see Olivia Newton John in tight black spandex. The characters are a little different, the couples are a bit different and there are some songs and scenes that you won’t be familar with. Give it a chance! If you have always wanted to see Sandy punch someone, this is your opportunity.
While you are going to be familiar with many of the songs in the score (“Summer Nights,” “Greased Lightning,” “You’re The One That I Want”), there are a few numbers in the Marriott production that really stood out.
“Those Magic Changes” is a fun song that is only sung in the play, not the movie. Performed by Doody (a charismatic Michael Kurowski) and the rest of the company, it is charming and swoon-worthy. “Mooning” is an adorable number sung by Roger and Jan (an endearingly hilarious Tiffany T. Taylor) that will give you the feels.
If you’re familiar with the movie, you know the “Hand Jive” song from the dance, but this version is even better. There is so much to watch and so many fun tricks being performed, you wonder how they can manage it every single performance.
Then there is the Teen Angel. Pink Lady, Frenchy (a very cute Landree Fleming), wishes that she had a guardian angel to help guide her way – and he appears, along with his hair-roller-clad ensemble. Crooner Jonathan Butler-Duplessis struts onto the stage and entertains everyone as the Teen Angel – right down through the number encore. You’ll find yourself hooting at this one, believe me.
Overall, Grease is an entertaining show where each character gets a chance to highlight a little of their own world for the audience. You’ll leave with songs in your head and a smile on your face. A good time all around.
Marriott Theatre: Grease! Chicago Review – Grease! is playing at Marriott Theatre through 3/15/2020. Tickets can be purchased by calling (847) 634-0200. Marriott Theatre is located at 10 Marriott Drive in Lincolnshire.
The Marriott production of Oliver! is great fun. There are 18 children in this show and approximately the same number of adults, so there is always something – and someone – to watch.
This show being a classic, it is one that many of us have seen before – whether it be the movie version or live. Myself being one of those people, I enjoyed watching the different takes each performer had on their character.
Lucy Godinez (with an incredible voice that alternatingly cuts like a knife, provides goosebumps – and sometimes both), plays Nancy as deeply pained and loyal, regardless of the cost. If Ms. Godinez ever decides to perform a musical version of the phone book, you will want to get tickets.
William Brown’s Fagin fascinates me the most. Often, Fagin is played in “Disney villain over-the-topness.” Even though the character quietly knows who he is and what he does, you often see him tenting his fingers or twisting his mustache between scenes.
In the end, it is ultimately the children that you can’t keep your eyes off of. Adorably led by Kai Edgar as Oliver (alternating with Kayden Koshelev), the kids are dirty, energetic, full of deviousness and fun.
If you plan to see a single show this year, make it Marriott Theatre’s hilarious new production of Something Rotten! Sharp and witty, with inuendo to spare, this show is two and a half hours of constant belly laughs.
Something Rotten! is the story of the Bottom brothers, two writers who are desperate to create a hit production. In a time where Shakespeare is a rock star and every other playright is seemingly second-rate, Nick Bottom consults Nostradamus (although, not the Nostradamus) for ideas. Based on his not-so-accurate visions of the future – and what would become “A Musical” – the brothers produce a show that would never be forgotten.
What’s better, the talent in the Marriott Theatre production is off the charts. Every single member of the cast is on-point, clearly enjoys what they are doing and has incredible performance skills. A few standouts are KJ Hippensteel as Nick Bottom (phenomenal), Cassie Slater as Bea (hilarious), Ross Lehman as Nostradomus (killer comedic timing), Jonathan Butler-Duplessis as the Minstrel (what a voice), and the scene stealing Sawyer Smith (in several smaller parts) who you won’t be able to stop watching.
If you are a fan of musicals, give yourself the gift of this show. With frequent nods to other popular musicals that you have likely seen or are familiar with, the references are are like little firecrackers of delight. This show loves and understands musicals in the same way you do, so sharing those inside jokes is a constant bonus.
When one thinks of musical theatre, there are certain staples that you expect. You expect a story that is driven by drama or comedy, characters that you may or may not like (but hope to find a connection with), and music that drives all of it forward. In Marriott Theatre’s new production of Darling Grenadine, in its Midwest premiere, we got some of that. There is both drama and comedy, a few characters that are endearing, and well performed musical pieces. The issue was the lack of connection.
Darling Grenadine is the story of Harry (played by Heath Saunders), a bar owner and composer, who meets and charms Louise (played by Katherine Thomas), an actress. The two develop a relationship with normal ups and downs until Louise gets wind of the fact that Harry is a struggling alcoholic. With more downs than ups, and doing her best to support him through a tragedy and family disfunction, their relationship finds its way to a conclusion that is ultimately best for both of them.
There are a total of five actors in this show, and each is a stellar performer. They work as a cohesive unit, with two (“Woman” played by Allison Sill and “Man” played by Brandon Springman) taking on all of the small roles throughout the piece (think customers, Louise’s co-stars in the play, a couple walking on the street, etc.) and the other three playing the leads. Nick Cosgrove (a standout) plays Harry’s brother and Louise’s confidante who helps to gel the pieces of story together.
One progressive choice in casting is Harry’s dog. Paul the dog is another character in the show, and a main character at that. Performed by Phillip Huber of The Huber Marionettes, Paul the dog is lifelike and magnetic in the way that living dogs are. He plays, jumps, drinks, and breathes just like a real dog. And while one first notices Mr. Huber as the marionettist on the stage, he quickly becomes less of the focus as Paul the dog integrates into the story. Mr. Huber’s black clothing, gloves, and brimmed hat, plus the fact that he keeps his eyes on Paul, leads the audience to also watch Paul. In a few short scenes, Paul the dog is just who he is – Harry’s trusty sidekick.
There are many intriguing aspects of Darling Grenadine that feel unique and risky. A serious story about an alcoholic and his downfalls isn’t your typical musical theater setting, but it works. Bits of Louise’s play performed intermittently throughout the show could have been a stretch, but it works. A marionette dog on stage? It works.
When you hear the title Footloose, many of you may be like me. You go back in time a little bit, envision Kevin Bacon with his Walkman and start singing in your head (or out loud!) “Everybody cut footloose, footloose. Kick off the Sunday shoes…” I know I’m not alone here.
Lucy Godinez (Ariel) had a singing voice that could cut through the silence like a knife – in the best way you can imagine. I would happily listen to her sing the phone book and likely ask her to do it again when she finished. Ariel’s three friends Rusty, Wendy Jo and Urleen (Monica Ramirez, Sara Reinecke, and Keirsten Hodgens respectively) were not only fun, but the actresses’ voices and harmonies were phenomenal. Then you had Ben Barker’s Willard who was fun comic relief with lots of personality.
Zany, funny, wacky, and quick. These are the words that emerge when I think about the new production of Murder For Two at the Marriott Theatre in Lincolnshire. And tissues! I should mention tissues. You’ll need them to wipe away the laughing tears streaming down your face.
Murder For Two is a show about a murder. Well, it’s less about the actual murder (and the invisible body that gets suddenly noticed, tripped over or ignored altogether) and more about the twelve suspects. When a writer is shot while entering his surprise party, everyone in attendance becomes a person of interest. Enter Marcus Moscowicz, a small town policeman, who has arrived to try to solve the case. He is not a detective yet, but is determined that this case – and the solving of it – will launch him into the position. If he can just figure everything out before the real detective arrives…
The twelve suspects are each unique and hilarious in their own way. They run the gamut from a sophisticated and sexy ballet dancer to three boys from a children’s choir to a wheelchair-bound psychiatrist – and they are all played by the same actor.
It is difficult to say much more about the plot of the show without ruining the fun, so forgive me for not doing so. I have your best interests at heart. That said, I don’t remember the last time I laughed at a performance the way I did at this one. And it wasn’t just me. There were cackles and pauses to allow for laughing throughout – which was gracious of the performers, because we the audience could not contain ourselves.
Murder For Two also provides another unique situation for the actors. It is just the two of them up there, surrounded by semi-gaudy chandeliers and décor that is the character’s house. When it is a two person cast, there is the potential for knowing each other very, very well on stage. And just like those skits on Saturday Night Live, we were privileged to be able to see two of those delicious moments when the actors were legitimately breaking character for a split second because they were having so much fun. Where they were looking at each other with a twinkle in their eyes, and we got to be witness to it. These moments made the night that much more fun.
Murder For Two is a nutty romp that is absolutely worth the hour and a half of your time. With two actors who are as talented as these gentleman, give the gift of taking yourself out of the world for a bit and laugh until you cry. This is one murder that you truly want to know more about.
There is something special about spending some time with your great-aunt or grandma. Sitting around with a cup of tea, hearing her stories, you start to envision a different time. A time where there were no cell phones or computers and people sang in rocking chairs on the porch at night. A time where nobody was thinking about the keto diet and every meal was made from scratch. A time where our elders’ stories were the entertainment.
Goodman Theatre’s “Having Our Say” is an experience just like this. Having been invited into the Delany sisters’ home for the evening, you get the pleasure of hearing their stories – only their stories aren’t like those we experience today. That is because real-life women Sarah and Elizabeth Delany are 102 and 100 years old respectively, and this is their story.
It is important to understand that this lovely performance at Goodman is the story of two very real people. This is their story, brought to life by nuanced performers Ella Joyce (as Bessie) and Marie Thomas (as Sadie). Even in the 856-seat Albert Theatre, the audience is made to feel as if our leading ladies are speaking only to us and a few friends. As if we are all sitting together while they show us photos of their family (all of whom have passed) and prepare dinner in honor of their beloved father’s birthday.
While taking all of this into consideration, this two-hour production is both a literal and figurative commentary on their lives. The characters speak words that have been given in previous interviews and describe situations through which they lived. Having experienced significant racism that escalated overnight with the Jim Crow Laws and incredible prejudice while attempting to succeed in their respective careers both due to race and gender, the actresses on-stage paint a picture of lives that most of us only read about in the history books. The largest difference being, history books can’t tell it like it really was. These women are emotional, hurt, wistful, and grateful for the lives they have had, the successes they have seen, the family they have loved and the paths they have walked.
This Goodman production is very different from any you may have seen before. There is no advancement of a plot, set changes (although I’d be remiss not to mention the intricate turntable set that includes their living room, kitchen and picture frames) or costume changes. There is no major climax or action sequence and there is no physical antagonist. This performance is an intricately written, emotionally performed, celebration of the Delany sisters’ life. Take the two hours and settle in for a cup of tea.
The Marriott Theatre’s children’s production of Sleeping Beauty is an engaging and charming performance for the little ones. While many kids will be familiar with the Disney production of Sleeping Beauty, this story is a bit different than what they will be expecting. That said, the characters are fun, bright, three dimensional, and a joy to watch.
The story begins with Topaz, and elf who speaks both Spanish and English, who lets us know that a baby is about to be born. We next meet the king, who is hilariously terrified for this new step, and then the three colorful fairy creatures, Marigold, Ruby and Periwinkle, who are there to bestow gifts on the little one. When the scorned Magenta comes in after the birth, she puts a spinning-wheel curse on the little one (you may be familiar with this part!), and Ruby attempts to change the curse by giving the gift of love. Should Princess Amber be kissed by her love when she is sixteen, she will awaken.
This show does an excellent job of elbowing out of the standard story and letting us know a bit more about each character. Teenage Amber wants to see the world and explore, and not be kept in a box or made to be prim and proper. Prince Hunter (her childhood friend) has a habit of sneezing whenever he is scared of something – which is always! The three fairies each have distinct personalities (sassy, emotional, and positive) that make their scenes particularly fun, and the fact that Topaz speaks two languages much of the time has a heart-warming inclusivity that I wish other performances would adapt.
Then, there is the dragon. Created in three parts that move as one, the dragon stalks on and off-stage in a bit of a jaw dropping manner. The entire audience was gawking at how incredibly cool it was that there was a dragon in this performance – including me! Nothing to be scared about with this dragon. The only special effects are a bit of smoke and a dragon voice.
All in all, this is lovable show for audiences of all ages – and I truly mean all ages. If your child has not been introduced to the theatre yet, this is the show to start with. You will see little ones as young as a year old, and all of these professional actors are used to the tiny comments from the audience. The children get excited, they talk to their parents, they have to go to the bathroom – this is normal and the cast is used to it. Bring them! They’re going to love it.
The story begins with Jack, a man in love. He has been dating his girlfriend Betsy for five years, but has not yet asked her to marry him. Why? His mother laid a curse while on her deathbed and forbade him from marrying anyone. Therefore, Jack lives in hilarious fear. Enter Betsy, who loves Jack, understands Jack, but is also tired of waiting for Jack. After Betsy issues an ultimatum, the couple decides to run off to Vegas and get married. Enter Tommy – a rich con-artist who lost his wife to cancer and would stop at nothing to get what he wants. Seeing that Betsy (who has just arrived in Vegas to marry Jack) is a virtual clone of his late wife, Tommy sets up a scam in order to “win” Betsy from Jack in a game of cards. It is only for the weekend, but that may be just long enough for Tommy to make it permanent.
This musical is fun. It is engaging with modern lyrics, but is written in the way that we are used to classic musicals being performed. Each character has a few songs where they talk about their love or loss and supporting characters have a song here or there. The same is true for Honeymoon In Vegas, but it’s funnier. It’s lighter. It doesn’t take itself too seriously. Supporting characters are actually caricatures with moments of their own. Jack’s long-dead mother shows up throughout the show – and in some of the most inconvenient places. Plus, all of those dancing, sky-diving Elvis impersonators? You’ve just got to see it.
This show was cast flawlessly. Michael Mahler’s Jack, Samantha Pauly’s Betsy and Sean Allan Krill’s Tommy were truly enjoyable to watch. Mr. Mahler’s powerful voice was only matched by the playful expressiveness of his face. Ms. Pauly’s Betsy was confident, witty and self-assured, never falling into the woe-is-me traps that we often see with a lead female character (which was extremely refreshing). Her voice is so effortless that one of her funniest moments was when we were able to see that “Betsy” was clearly not a singer. Mr. Krill, with a luster in his voice, maintained a debonair Robert Redford-esque air about him that – even while scamming – made the audience swoon.
While we are all born into a family of sorts, I think we are all looking for where we belong from the beginning. Who are we without our mother, father, siblings or guardian? Who are we when we meet someone and feel that pull towards them? Will they accept us for who we are? And who is that really? That is what young Richard Miller is trying to figure out in Goodman Theatre’s Ah, Wilderness.
The sets, props, and costumes of Ah, Wilderness are top notch. Complete with both wet and dry sand, boats, and seaside paraphernalia surrounding the house, the cast is dressed to the hilt in period garb. The ceiling of the home is open, leaving one to feel like the sky is something that can be seen at any time, from anywhere, and that the world is your oyster. Fourth of July fireworks crack in the background throughout poignant scenes and we watch the sky move from day to evening to night throughout the show. The feel of all of this together is spectacular.
Which brings me to the one nagging feeling I had after watching the production. There are fifteen characters in Ah, Wilderness, seven of whom are in a single scene or two. All of the actors are talented and well cast, but when the show was over, I felt myself wondering why some of these roles weren’t combined. What were the actors doing during the entire first or second act while waiting for their single scene? This is surely not a pressing matter, but because I find myself still lingering on the question, you may as well. And while I truly don’t have a commentary in terms of talent about which roles should be combined, it still strikes me as odd that so many skilled actors spent so much of their time off stage.