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.
For a full hour and a half (with no intermission), there are two actors on the stage who play every character in the show. Marcus Moscowicz (played with endearing kookiness by Noel Carey) is the (fairly) stable center and the twelve suspects (played by Jason Grimm, brilliant) provide all of the spokes of a wheel. This duo is also in charge of the music for the show. Both actors play the piano proficiently and frequently – so much so that it almost becomes a character of its own.
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.
Marriott Theatre: Murder For Two Chicago Review – Murder For Two is playing at Marriott Theatre through 8/26/18. Tickets can be purchased by calling (847) 634-0200. Marriott Theatre is located at 10 Marriott Drive in Lincolnshire.
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.
If you are a fan of the 1990s charmer You’ve Got Mail, it’s time you see the musical that inspired it! Playing at the Marriott Theatre, She Loves Me is a fun and lighthearted show that will take you back to a simpler time; a time where pen pals used paper and pencil rather than electronics, and newspapers listed Lonely Hearts ads for people looking for love.
She Loves Me is the story of Georg and Amalia, employees at a Parfumerie, who do not get along. Amalia has a finesse with the customers and Georg is on his way to managing the store. While the employees at the shop all appear to work in perfect harmony (both figuratively and literally through song), behind the scenes, they are all but getting along. Luckily for both Georg and Amalia, they have their pen pals to correspond with at the end of each day. As each writes to “Dear Friend,” they slowly find that their differences aren’t so different after all.
The Marriott Theatre cast of She Loves Me makes this feel like a true ensemble performance. Although there are distinct parts, there is a feeling of unity, particularly during the group scenes. The cast gels together and really comes alive during numbers like “Twelve Days to Christmas” and “A Romantic Atmosphere.” Leads Alex Goodrich and Elizabeth Telford (Georg and Amalia respectively) crackle with sarcasm and wit, making their scenes particularly charming. Songs like “Tonight at Eight,” “She Loves Me,” and “Vanilla Ice Cream” are standouts. The supporting cast (Terry Hamilton, James Earl Jones II, Grant Kilian, Jessica Naimy, David Schlumpf, and Steven Strafford) bring sassy, clever, and outrageous fun to the show. All in all, it is a feisty, fun and modern take on a classic. You are going to love She Loves Me.
Whether you have watched your share of telenovelas or have only been exposed to spoofs of them during episodes of Ugly Betty, Goodman Theatre’s Destiny of Desire is about to open your eyes to a whole new kind of production. Destiny of Desire is a telenovela that is set on stage, complete with touches that you may not have seen before. The triple-threat cast is lively and entertaining to watch, making this production a unique experience.
As the baby girls grow up, our poor mother, Hortencia, goes to work for the rich couple and mothers their child (neither of whom know that this is her biological child) while at work. Fabiola has come to despise her daughter and wants nothing more than for her to appreciate all that she has been given. Hortencia’s daughter, on the other hand, (who is the biological daughter of the rich couple) wants to be a doctor, but has no money with which to go to school. When Hortencia is put in jail for killing Dr. Mendoza (the doctor who secretly switched the babies and was also in love with Hortencia), her daughter goes to work for the Castillo household. The girls meet and – let’s just say that some secrets shouldn’t be kept!
The one major weakness in the show is that it felt uneven. While much of the show is silly, lighthearted, and fun, there are scenes and songs that are much more serious. And while I believe that these were well-intended plot points, it makes those moments in the show fall flat. After enjoying the outrageousness of a woman giving birth in a gold dress, dying on the table and being brought back only to switch her baby with another and have her hair done before her husband arrives (all in about 8 minutes), it is a tough transition to then be listening to a heartfelt song about a father wanting his now-adult child to live after fainting in the desert.
Led by the fantastically talented Danni Smith and Tiffany Tatreau, this ensemble of Mamma Mia! is second to none. Exhibited during numbers like “Does Your Mother Know,” “Lay All Your Love On Me,” and “Voulez-Vous,” the intensity of their spirit is palpable. The actors are having a blast on stage and that positive energy washes over the audience for the duration of the show. The electric energy put forth by the Marriott Theatre cast makes the experience of the “up numbers” so much fun that no one can control their bobbing heads, lip syncing, and dancing in the seats, while the dramatic moments and songs are met with tears and shallow breaths. In short, this production is a wonder.
From the first moments of the Overture, as the house lights go down and the concert stage-lighting begins, a faint glow of color begins to increase at the walls around the gallery. The effect is to put the audience in silhouette – so as you’re looking around the room, you feel the excitement of the concert beginning. By the end of this show, you will find yourself happily exhausted from the wild ride.
One warning that I will leave you with before you go off to buy tickets: you may lose your voice. You will be shouting and hooting and having a fabulous time, so it might be a shock that next day when your voice is hoarse. It is 100% worth it, believe me! And as the lovely patron sitting in front of me exclaimed after the encore (which you MUST stay for!!), “That was great!! Woo hoo!!” I couldn’t agree more.
The Marriott Theatre’s children’s production of The Nutcracker is a fantastic experience for young theatergoers. While The Nutcracker that many of us grew up with is the ballet composed by Tchaikovsky, this play is an ideal mix of adventure, entertaining characters, music and dance – the perfect combination for keeping the little ones engaged while introducing them to this classic story.
One of the things that I have always enjoyed most about the children’s productions at the Marriott Theatre is how they truly play to the youngest audience while continuing to provide a superior quality production. The costumes, lighting, and sets are always on-par with something that they would do on the main stage. The cast is always extremely talented, full of professional singers and actors, but also personalities that naturally look to engage and entertain the children. When you have a love of the theatre and want to help your kids to develop that love as well, this is the kind of performance that will encourage it to blossom. And to top everything off, the actors spend ten minutes after each show having a question and answer session with the kids. This is one to see!
Fun, vibrant and full of life, Goodman Theatre opens it’s brand new show Wonderful Town with lots of personality. This musical – composed by Leonard Bernstein and based on the play My Sister Eileen – is about two starry-eyed sisters who move from small-town Ohio to the big city of New York. Ruth is shy, straight-forward and has always dreamed of being a writer and Eileen – an aspiring actress – can’t walk down the block without attracting the attention of men and women alike. Pair these ladies with the reality of city life and a great score and you have and winning experience.
All of the characters that we meet are quirky and interesting, including both Ruth and Eileen. Bri Sudia’s wry delivery as Ruth makes you relate to her, feel for her and laugh with her. Lauren Molina’s Eileen is feisty, fun and a bit frivolous, but also warm and enjoyable. Karl Hamilton’s Robert Baker is someone you spend the first few scenes sizing up, but his concern and authenticity towards the women and about Ruth’s talent make way for a very likeable man. The supporting players (including Jordan Brown as the daft Wreck and his adorable bride Helen, played by Kristin Villanueva) are all entertaining and help to propel the story forward.