Saturday, June 16, 2012

June WishList: Part 2

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BoHo Theatre 

In 1925, while chasing a dream of fame and fortune by turning a Kentucky cave into a tourist attraction, Floyd Collins himself became the attraction when he got trapped underground. Alone but for sporadic contact with the outside world, Floyd fought for his sanity and ultimately his life as the rescue effort above exploded into the first genuine media circus. Reporters and gawkers from across the country descended on the property, fueling the hysteria and manipulating the nation into holding its collective breath. This haunting musical — one of the most acclaimed in recent years — tells the transcendent tale of a true American dreamer.

BoHo’s production of Floyd Collins explores freedom across multiple realms, from Floyd’s quest for financial freedom that leads him into the cave, to the literal need to escape from a claustrophobic cave-in, and finally to the emotional and spiritual freedom Floyd discovers when the fear and isolation give way to inner reflection. At the heart of this story is the contrast between the cynicism in the media whirlwind above ground and the real emotions and family dynamic between Floyd and his family. In an age of constant news bombardment and media spin, Floyd Collins is a reminder of what truly matters when the rest of the world disappears.

Floyd Collins is a great musical that I have never had the opportunity to see. Which is understandable considering the difficulty surrounding the production & the fact that the role of Floyd Collins is a crazy difficult task to conquer. The story of Floyd Collins is fascinating & one that needs to be remembered. There is a timeless element to this story (it is the original 127 Hours, after all). Plus, the music is amazing. Adam Guettel is a musical poet who crafts the most haunting & stunning moods & melodies. He is best known for Light in the Piazza, which won 2 Tony Awards in 1995 (Best Original Score & Best Orchestrations). He also wrote Myths & Hymns, an innovative & quiet musical that is too beautiful for words. 



THE MARVIN GAYE STORY:

Don't Talk About My Father, Because God Is My Friend

Black Ensemble Theatre 
Marvin Gaye’s life was plagued with depression and drug addiction and ended in tragedy on April 1, 1984 when he was shot and killed by his own father. The Marvin Gaye Story will reveal his struggles while also honoring his vast contributions to the music industry and the world. To many, Marvin Gaye represents the ability to face the worst of life’s adversities and still accomplish great success. This Black Ensemble Theater production will embrace this sentiment and celebrate a legacy of beautiful music that will last forever.

I’m a sucker for dramaturgically-based pieces; I love any piece of theatre that derives from a true-life story, especially if it‘s a musical. This specific story has all the makings of a great musical…a complicated, dark story sprinkled with elements of hope with an infusion of quality music. I have heard & read nothing but great things regarding this production (and the Black Ensemble Theatre), so I’m sure this is a stunning production. 



Riverfront Theatre 

Travel back in time to the 1970’s and celebrate the music that made those days memorable. The audience will enjoy the chart toppers from the pop group phenomenon ABBA, as well as a dazzling compilation of highlights from the iconic film Saturday Night Fever. This glittering, polyester-clad production is guaranteed to have everyone dancing, singing and swinging in the aisles.

I LOVE ABBA 
and support any excuse to have their songs performed onstage. 

In 2006, I saw the tribute concert ABBA MANIA in London’s East End & it was perfect. In 2007, I saw the national tour of Mamma Mia! at the Hotel DuPont in Wilmington, DE & it was equally awesome (and the last musical I ever saw with my dad). Both productions had very clear (though dissimilar) points-of-view in regards to their application of ABBA’s songs to the stage: ABBA MANIA’s goal was to recreate an actual concert with diligent authenticity; MAMMA MIA used ABBA’s built a story around the songs like the creation of a constellation from stars. I am curious about Dancing Queen’s production perspective…the title & promo graphics indicate an emphasis on dance, which would be a great emphasis to apply. But the whole highlights from the iconic film Saturday Night Fever element seems forced, completely random, & out-of-place. I am also curious about this Riverfront Theatre & its’ 70-foot tall, 22,000 square foot temperature-controlled tent

Friday, June 8, 2012

June WishList

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Gorilla Tango Theatre  

In this original musical, the true life of Danny Tanner and his family is exposed; promises will be broken, sinister paths explored, lives (maybe even of main characters!) will be lost, and yes, songs will be sung. Whether you're a member of the Full House fan club or scoff in a superior fashion when you hear someone utter "Cut It Out", you will find both a touch of nostalgia and an illuminating light shining brightly on the Tanners' most clandestine realities in this black comedy with a twist. Come see the Tanners as you've never seen them before. Attend the Tale.

I grew up with the Tanners & love a new musical, so this is right up my alley. 



Navy Pier Skyline Stage 


Cirque Shanghai: Year of the Dragon is a spectacle for audiences of all ages, featuring performers direct from China who are leaders in their craft of tumbling, juggling, balancing and more. This year's production features an incredible line up of awe-inspiring acts, including favorites such as Bike Balances and Hoop Diving, as well as an all-new Group Chair Stack, Teeterboard act and the Wheel of Death.

I am ashamed to say I've never seen a show by Cirque du Soleil. And tickets to this one are surprisingly cheap at HotTix, so looks like I'll be able to cross Cirque du Soleil off the bucket list. 



Lookingglass Theatre Company 
eastland
July 24, 1915: Moored on the Chicago River between Clark St and LaSalle, The Eastland begins boarding and thousands of Western Electric employees and their families climb the ramp, excited for their annual company outing. Overflowing with passengers about to depart, the boat leans port – and doesn’t lean back. Within minutes, cries fill the air, families are torn apart and unexpected heroes emerge to rescue dozens of Chicagoans from a watery end.
Why this looks awesome
  • Lookingglass tends to produce impeccable shows. 
  • I never knew about the Eastland Disaster before I moved to Chicago. Much like Devil in the White City (another story that should be on stage), the Eastland is a part of Chicago’s history that doesn’t seem to be adequately acknowledged in American history. 
  • I loved Titanic: The Musical. It won the 1997 Tony for Best New Musical but never seemed wholly embraced or beloved by musical-lovers. My theory is that, although the music was beautiful, the staging was too literal & not artistically fulfilling. Granted, sinking an ocean liner onstage is a pretty difficult task, but that is why the task needed to be approached with an artistic eye, innovative staging, & the use of/faith in the audience’s imagination. These are all elements that Lookingglass regularly incorporate into their productions, so I have no doubt Eastland: An Original musical will not disappoint. 

Wednesday, June 6, 2012

RENT @ American Theatre Company


I’ve loved Rent for over a decade, but this production still offered a fresh, innovative, & much-appreciated insight; it surpassed the Broadway production. I largely credit this to the strong interaction & understanding of the text, both from an staging & performance perspective. The staging choices used ATC’s space in a startlingly effective manner, which was especially useful in scenes with overlapping settings that communicate critical plot-points. The timeline was definitely more definitively articulated; I never fully appreciated Larson’s structural choices in crafting the piece until stumbling upon a production that fully tapped into the text.  

The first act takes place on Christmas Eve; it is just one day, but one that is jam-packed with the aftermath of prior relationships, the butterflies of meeting a new love, & setting the stage for the mayhem of Act II. The first act should be & was used as an introduction to these individuals so that the audience will be invested in & acquainted with the events that will unfold for them in the following year. Act II opens a week later on New Year’s Eve & ends on the following Christmas eve (with Valentine‘s Day & Halloween serving as moments of punctuation); it was a fast-paced, electric, emotional roller coaster. The two acts together created an authentic circle of time & made the production’s tagline How Do You Measure a Year In a Life & the iconic sentiment of Seasons Of Love make a little more sense.  


Mark Schmuckler & Derrick Trumbly
This production was notably & fittingly more raw & gritty. Collin’s mugging actually seemed scary, there was a more biting meanness in the fights between friends, & the role of the homeless was more pronounced. The sense of social commentary seemed wider-spread than just the presence & permeating problem of HIV/AIDS. I never fully appreciated the difficult obligation to share one’s HIV positive status with potential partner; this struggle was always presented as a shadow of an idea in productions past, but I understood it more this time around. The contrast of Benny & Angel openly & immediately admitting their HIV-status versus Roger’s struggle with self-restraint in hiding it from Mimi was articulated & much appreciated.

As Mimi, Grace Gealey grew on me. She was hard to gauge during Light My Candle, but overall likeable; Out Tonight was not perfect. Despite good growls & a nice sense of pent-up energy, her solo spotlight moment was inconsistent & not entirely engaging. I began to love her performance during Christmas Bells; she stood out in the crowd & had an intrinsic charm that made it easy to see how Roger fell so fast & hard for her. I also liked that she had an awesome cropped hair-cut instead of the traditional long curls. She seemed like a 19 year-old girl & communicated the complications of youth, which is a rarity in this casting; she created a character from the text whose 19 year-old history you could actually envision. Without You was graceful, poignant, & the line goodbye love, hello disease could not have been more heartbreaking. Derrick Trumbly played a perfect partner in performance as Mimi’s Roger. He had that 1990’s flannel-clad, anguish-ridden, guitar-guy persona down pat; but he also acted through his singing with stunning subtlety & created a consistent, charismatic character independent of the love story dynamic. Tony Santiago played an excellent Benny; he didn’t play him as a flat, bad-guy character & it was easy to envision him as Roger & Mark’s former roommate/friend rather than the evil villain. As Roger’s current roommate Mark, Alan Schmuckler was good from the get-go & only improved exponentially. He was an introspective performer with a strong voice & equally strong narrative skills. Tango Maureen was never one of my favorite numbers, but this rendition was a smart, sassy performance that had little resemblance to prior, campier interpretations.

Aileen May 
As his tango partner Joanne, Lili-Anne Brown was flawless; her acting & singing was impeccable. Ms. Brown also directed Bailiwick’s 2011 production of Passing Strange, which was as flawless a production as her performance. Joanne’s other notable duet is Take Me For What I Am: her break-up song with Maureen (Aileen May)which was a number that  that erupted from history & a multi-faceted energy of frustration, pleading, and indignity (rather than the clashing of two big & clashing personalities). Aileen May was a stunning Maureen; her smart & quiet use of inflection was unparalleled. Over The Moon was strong, solid & her cow-head reminded me of Equus; it truly seemed like the heart-felt performance from the heart of a crazy artist. Speaking of the artist, I saw Angel’s understudy: Eduardo Placer. He was appropriately sweet, strong, stunning, & inspiring; I would imagine Angel is a difficult role to understudy & Mr. Placer did it so well. He created his own charm while simultaneously creating love-life with Collins, played by Alex Agard. I can’t say enough good things about Mr. Agard’s performance: he inspired, broke hearts, sang like an angel, & glorified a glorious role.


P.S. THE BAND WAS GREAT. Maybe it was because the prior productions I’ve seen of RENT were in Broadway-esque venues with an orchestra pit, maybe it was my seat’s close proximity to the band’s suspended studio, maybe it was that my youthful ears lacked fine-tuning…but this band created a more cohesive (and quality) sound than the orchestra pits of productions past. The band’s blare overpowered the singers at times, but they sounded so great that I didn’t find their dominance too offensive.

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