The Great American Trailer Park Musical @ Theatre Wit

This production was a breath of fresh air. It was a musical whose songs were new to me but were still memorable, catchy, & less campy than expected (very Bat Boy-esque). I didn’t realize The Great American Trailer Park Musical has had such a rich/international production history: it debuted in 2004 at New York Music Theatre Festival. In 2005, TGATPM premiered Off-Broadway Dodger Stages on September 27, 2005. In 2006, it made its’ regional debut at the Hippodrome State Theatre in Gainsville Florida. 2008 marked the 1st National Tour, with the same cast taking to show to the Edinburgh Fringe Festival. 2008 also marked TGATPM’s English premiere in Birmingham, England. In 2010, Arizona Onstage Productions in Tucson, AZ presented TGATTM  as the world’s first scratch-and-sniff musical (the audience was handed out cards to scratch & sniff at different points throughout the show). TGATPM also made its’ Australian debut in 2010 with a production at New Theatre in Newtown, Sydney. The fact that this musical has existed & continued to be performed means the piece is quality, somewhat timeless work. It was a very smart choice for Kokandy Production’s premiere production: it is a quality show that is relatively unknown but is still appealing to a wide range of people. Kokandy Productions is a new company started by by Scot Kokandy; he has previously co-produced Towle Theatre's GOOD BOYS AND TRUE & was one of the awesome People of Godspell who joined together in produced GODSPELL on Broadway (a movement ultimately incorporated by my buddy Ken Davenport). TGATPM marks the company’s first full production & it presented a wonderful first impression. Check out their blog & keep an eye out for their future productions; I predict this company brings some great work to the stage.

The production was performed impeccably with a keen eye on details. One detail that was very much appreciated: a good program. It is my firm belief that a production should take pride in the details & establish as much of a sense of continuity in the theatre space as possible. I have been to recent productions that didn’t even hand out a program (infuriating, in my book). This program was engaging & cleverly constructed (rules for living in a trailer park, faux ads, etc.); the program lacked cast bios, but it was a very nice touch otherwise. That acute attention to detail was equally apparent onstage: from the hair claws to the Cheetos, the artistic & production staff was clearly committed to wholly creating this world within the trailer park. The set was impressive; it was not only visually appealing, but also smart & vibrant utilization of a constricted space. There stationary set consisted of three trailers, one of which had a cut-out in the front so that actors could use the interior space to provide a sense of dimension.  It is especially imperative for this specific show to have a stellar set since the setting is a character in itself. Set designer Zachary Gipson created a community that was part cartoon campground, part honky-tonk hang-out, & entirely awesome. 

The Players

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty), 

Alex Grelle (Duke), Bri Schumacher (Pippi), Jonathan Hickerson (Norbert), Christina Hall (Jeannie) 

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty) served as our Greek chorus; they gave exposition & insight on the characters & community while still playing isolated, independent roles. The singing capabilities of this cast were exceptional across the board & these women were steely belters who made 3 voices fill the space like a full ensemble. Their internal interactions were also notable: it was evident that these actresses have developed a strong performance connection and were [justifiably] confident onstage. As Norbert & Duke, Jonathan Hickerson & Alex Grelle provided nice punctuating moments in this female-heavy ensemble. Hickerson was an especially strong actor & carrying the bulk of the show’s conflict. The two stand-out performances were by Christina Hall as Jeannie (the agoraphobic wife trying to muster the strength to leave her trailer for her anniversary) & Bri Schumacher as Pippi (a dancer who’s the newest resident of Armadillo Acres & having an affair with Betty’s husband). Both of these women were impressive singers who performed their respective roles without turning them into cardboard, bland stereotypes. They nailed the jokes & an understanding of what made their characters fun & funny, but did not do the easy & obvious disservice to the production by relying too heavily on the humorous aspects of the show. This cast is a rarity considering there really were no weak links; but that sentiment could be applied to the entire production: no weak link & no complaints (except for the lack of cast bios, but I can let that slide). 

BUY TICKETS [or visit HotTix like me]
This was also my first Theatre Thursday experience, but more on that later... 

Cirque Shanghai @ Navy Pier Skyline

CIRQUE SHANGHAI 

@ Navy Pier's Pepsi Skyline Stage  

I DON'T GET IT. 

All the reviews I’ve read (even Chris Jones!) 

have given Cirque Shanghai nothing but stellar reviews. 

I don’t really share that opinion, but I’ll start with... 

THE GOOD

I liked the theatre itself…an open air theatre on a pier (even if it is Navy Pier) is a nice place to spend a Sunday afternoon. It seems like an ideal space for a family-oriented show, even though this show didn’t seem especially geared towards kids. Also, he tickets were only $22.44 thanks to Hottix & the performance only lasted 90 minutes. 

THE BAD

The performers were clearly skilled, but their skills just weren’t that amazing (or infallible: the imperfections in the acts were not only present but noticeable.) There were awesome & impressive moments, but the performance just lacked an overall WOW factor. The performance also lacked cohesion between the individual acts…it felt more like America’s Got Shanghai Talent than a unified piece of performance art. 

THE UGLY 

The production lacked artistry.; it seemed like a gymnastics show that only gave a second thought to sets & costumes. While the performers were clearly skilled, this type of performance still heavily relies on production design. The women’s ensemble numbers were a train-wreck, costume-wise: they alternated between resembling wedding-cake toppers & retired costumes from baby-beauty pageants. 

June WishList

Attend the Tale of Danny Tanner: A Full House Musical 

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. 

Cirque Shanghai: Year of the Dragon 

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. 

Eastland: A New Musical 

Lookingglass Theatre Company 

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. 

The Thrifty Theatre-Goer: HotTix & GoldStar

I love a good deal almost as much as I love good theatre.

Chicago theatre offers some great money-saving opportunities that I happily taken advantage of,

so it seems only good & right to share my lessons learned in my thrifty theatre-going habits.

HotTix

Tickets can’t be bought over the phone: they must be purchased online or in person at one of the ticket booths.

You can call 312-977-9483 for assistance with online purchases,

but the staff won’t take billing information or refund/exchange tickets.

There are additional charges for purchasing online, so it really is in one’s best interest to go to the booth.

I found the online purchasing process very complicated. However,

I have found the ticket booth very convenient, especially for day-of purchasing.

GoldStar

GoldStar is a nation-wide, internet-based service & covers a broader base of ticketing options.

Because of that, it uses Ticketmaster to process ticket sales, which makes it a quick & convenient process.

The catch with their online buying is that you usually have to purchase the tickets a day in advance.

The tickets tend to be more expensive than those at Hottix, but they offer One-Day Specials that are really great deals

(and my favorite aspect of GoldStar).

 

next thrifty-edition: Chicago Theatre Rush Tickets

The Great Fire @ Lookingglass



Towards the end of my Lookingglass internship, I attended a staff meeting where they announced the 2011-12 season. I was immediately excited about The Great Fire. It was a challenging production with a hugely intriguing & applicable subject matter for the audience base. Artistic Director Andy White also discussed the applicability of this piece of history to the American audience in this post-9/11 world because it showcases a city’s ability to rise from the ashes and revive itself. Part of what this play highlighted was how foreign it feels to envision an urban disaster without our contemporary advances & conveniences. The play opened & closed with vignettes of letters of people communicating the disaster of the fire with their distant loved-ones. The mayor had to telegraph The White House to seek assistance. The communication culture clash was an interesting element to emphasize & address. In the same juxtaposed light, it was a very cool effect to enter the Water Tower, see those pipes, and then leave the theatre with the realization that everything around me had been leveled by the fire except for the building I was leaving.

 

I appreciated the fact that this play served as a study on human reaction in the face of mass tragedy. Many people developed an immediate, morbid fascination with the fire & wanted to go watch the river while it was still south of the river; this is a realistic & rational acknowledgement because the attraction of tragedy to spectators seems to be a timeless human habit. It also honestly addressed the kindness of distant strangers in aftermath of a tragedy versus the dog-eat-dog factor during the tragedy. The script exposed an excellent cross-section of different reactions to the impending disaster: the Alderman wants to literally fight fire with fire, the businessmen who quickly adopt the mentality that confusion equals potential income, the comparative indifference of the masses as a result of overexposure to tragedy, and the prisoners who are released for fear of bad press & see the fire as freedom. However, the base & primary goal of all these characters is to gather up the loved ones & flee. Theatre should cause contemplation and this script & production was one that provoked self-reflection, new knowledge, and humbling appreciation for the safety & convenience of our contemporary world.



The Players

The cast was comprised of smart, small ensemble (with a refreshing disregard to age/gender) that served as a collective representation of the people of Chicago. As the personification of The Fire itself, Lindsey Noel Whiting created a character with the otherworldly, innocent seduction of a glowing fire while still also presenting the mocking, almost vindictive nature of the fire’s aggression. Just as the character she created was well-rounded, the quality of her performance was equally well-rounded in physicality, artistic presentation, and interaction with the text. But that sentiment applies to the ensemble and production as a whole.

Waiting for Lefty by American Blues Theatre

Waiting for Lefty was inspired by the New York City’s 1934 taxi strike and first staged in 1935 by the Group Theater. Clifford Odets structured this timeless commentary on the social & economical inequalities as a series of vignettes that offer varying perspectives on the personal effects of this strike. I loved it, both the script and the productions. I'm a big fan of scripts based in this era and considering our currently economically-difficult American situation, this play was a such a smart & awesome piece for American Blues Theatre include in their season. The production was flawlessly executed due its large cast comprised of substantially skilled actors.

I liked their graphic design choices. Their posters have vivid colors, excellent artistic execution, and a clear presentation of a forthcoming production. However, the poster didn’t authentically reflect the artistic choices of this specific production. The bright red, white, & blue invoke imagery of a patriotic nature. However, this play relayed a historical period where many bright, fresh Americans felt very removed from this country’s commitment to life, liberty, & pursuit of happiness. I would prefer the production I saw to the production that the postcard promised; it is more purposeful & much more relevant, especially in these economically impossible times. I wish they had chosen to advertise what this excellent production turned out to be Cradle Will Rock meets It’s All True. I loved both of those and I loved this.

I love theatre but am unfortunately wired with a very short attention span. This play was quick, even for me. A 60-minute play does not equal a full-length production; this is what we call a one-act. Luckily, I bought a half-off ticket for $12.50 at HotTix. If I’d spent twice as much, I’d have felt ripped off, even though the quality of the production was excellent. Charging $25 a ticket equals $2.40 a minute; that rate is applicable to a massage but not a theatre ticket. The quality of this production is not in question, but the ticket price needs to be adjusted considering the fact that this was a one-act.

Stand-Out Performances

Cheryl Graeff as Dr. Benjamin

Dr. Benjamin was dedicated physician who was the first on her hospital staff to be fired (based primarily on the her Jewish heritage). This vignette opened with her expressing a validated frustration to her supervisor at the different treatments patients received due to their economic class. It closed with her establishing herself as an angry victim who has serious plans to fight back. Her piece was the last one that was primarily character-driven & it was such an effective playwriting decision. In a play that focuses primarily on the effects of a depression upon the specific cab-driving group, it is important to acknowledge & remember that the economic effects of this period managed to destroy both white-collared and blue-collared families. In her role, Cheryl Graeff created a character with a strong spectrum of ideas, experience, and history. I felt her authentic commitment to her work as a doctor. She only had a few lines about her parents, but those lines were so articulate in their artistic interpretation that I felt a quick connection to this character’s widespread history. She was dynamic in creating a flow in the text, an excellent reactionary in relating to her supervisor (played by John Mohrlein) & entirely engaging.

Gwendolyn Whiteside as Florrie

Florrie was a young woman torn between her family’s dependence on her minimal secretary salary and her earnest desire to continue investing her love & energy in 3-year engagement to Sid (played perfectly by Zachary Keeney). This engagement would realistically never result in a marriage due to the economic impossibilities they would inevitably face in starting a new life together. At the pressure-some prompting of her brother Irving (played by Bradford R. Lund) and the tragic acknowledgment of their situation’s reality by her beloved, Florrie & Sid together make the necessary & impossible decision. This vignette effectively communicated the true tragedies that befell these Americans because it showed the true consequences of this horrible era: the loss of the ability to pursue one’s happiness & love. Florrie held on so hard the to the hope of her love-filled marriage becoming a reality because that is the most basic American & human right. Gwendolyn Whiteside made this character empathetic, earnest, and overall endearing. She crafted a character the audience would have loved to see in a wedding dress, and so she simultaneously created an empathetic audience who mourned along with her at the loss of that dream.