Category: Children’s Theatre
REVIEW: Peter Pan (Emerald City Theatre)
Tinkerbell’s pixie-dust works its magic on rollicking production
Emerald City Theatre presents:
Peter Pan
Based on the character created by J.M. Barrie
Book and lyrics by Alyn Cardarelli
Music by Steve Goers
Directed by Matthew Gunnels
Thru July 22nd at Apollo Theatre, 2540 N. Lincoln (more info)
reviewed by Katy Walsh
Disney, Depp, Dustin, Duncan, the legend of Peter Pan has been retold and reimagined on stage and screen for over a century. This time its Emerald City Theatre’s adaptation as they present the world premiere of Peter Pan. Based on the character created by J.M. Barrie, Emerald City has created an energetic and colorful musical of the infamous boy who didn’t want to grow up. This version focuses on Wendy’s rite of passage. Mr. and Mrs. Darling want Wendy to move out of her childhood nursery and put on a big girl’s dress. Wendy wants to play! Cue the Pan. Peter arrives to whisk her away. He takes her to Neverland, a magical island where lost boys, pirates, Indians and a crocodile duel it out daily in the ultimate never ending game. Emerald City’s Peter Pan is a fun family pleaser with comedy and sentimentality that reaches the child in all of us.
In my Peter Pan encounters, I’ve never rooted for the pirates. Until now! Aside from trying to stab and poison people, Captain Hook (Michael Kingston) and Smee (Zev Steinberg ) are likable guys. Steve Goer‘s “Pirates with a Plan” song is a standout number with Kingston and Steinberg’s comedic antics. In particular, Steinberg is acrobatic in his movement throughout the play. His fight with Jamila Turner (Tiger Lilly) has a thrilling physicality. And Turner shifts gears perfectly in her dual roles as a strong, independent princess warrior and the empathetic maternal Mrs. Darling. Michael Rieman (Tootles) and Caleb Probst (Slightly) are hilarious as the lost boys and later in drag as the mermaids. Allison Lind (Wendy) is wonderful playing a girl playing a mother in a pretend world. With a permanent angelic smile, Ryotaro Shigeta (Peter) exudes a youthful arrogance and sense of fun. He is definitely “The Pan.”
Sprinkling the pixie dust on his talented ensemble, Matthew Gunnels directs a briskly paced sixty minute adventure. The choreography (Ernie Nolan ) is bursts of activity in the lively chases and fighting. The costumes (Branimira Ivanova ) are childlike fun. Peter and the lost boys wear lively patchwork outfits that fit a child’s imaginative style; the mermaids are in vibrant wigs and tails swimming on rollers. This Peter Pan production is all about special touches that add to its entertainment value. Special props to the prop master (Jenny Pinson). Hook has multiple versions of his prosthetic hand, including a toothbrush. One of my favorite moments is the glasses, umbrella and teddy bear used in the very satisfying ending. It was a nod out to the Disney version of “Peter Pan” which made me a little misty for my own childhood bedroom. Emerald City’s Peter Pan magically transports you back to Neverland. Whether it’s for the first-time or a return visit, the voyage is a fun trip!
Rating: ★★★½
Running time: Sixty minutes with no intermission. Parking lot available for earlier arrivals. This play is suitable for families with children ages 3 to 12 years .
EXTRA CREDIT:
REVIEW: The Last of the Dragons (Lifeline Theatre)
A good time for ALL ages
review by K.D. Hopkins
As I entered the Lifeline Theatre on a freezing Chicago afternoon, I thought back to the first time I saw real children’s theatre. It was a production of Peter Pan in the early 70’s. I was a cynical kid and did not give in easily to fantastic imagination. Fast forward to 2010 – I watched while what seemed to be an endless stream of children were herded into the cozy theatre. They were a well-behaved bunch and I sensed more sophisticated than most children about theatre. That was a bonus as we settled in for an hour of fun with a really great lesson about individuality and tradition.
The Last of the Dragons is a world premiere musical adaptation from a novel by Edith Nesbit. It is of interest to note that Ms. Nesbit was a woman considered ahead of her time in Victorian England. Not only was she an accomplished author but also a political activist involved in creating the precursor to England’s Labour Party – the Fabian Society. The central character of Princess Andromeda (nicknamed Andy) is a girl possessing a strong mind who has decidedly unfeminine pursuits according to her father, the king. She is an accomplished swordswoman, wears her hair short, and likes to dress in trousers. Like Victorian England, women’s roles were defined clearly and if one expected a comfortable life, she would willingly adapt to societal mores.
Princess Andy is played by Anne Sears. She is fresh faced and appealing as the gutsy princess. Her comic gifts show brilliantly in the scene where she is being coached in princess behavior and attire. Mike Ooi plays the King with just enough bombast and humor. Ooi possesses a fine bass voice that resounds in the song “Tradition”. This production does not talk down to the audience just because it is meant for children. There is a layered dynamic between the characters of the King and Princess Andy. They engage in swordplay in the opening scene that hints at the King’s indulgence and acceptance of his daughter’s skills and individuality.
Cast member David Fink is a triple threat as the hilarious D’Artagnan, Chamberlain, and as the Dragon. Mr. Fink has been in previous Lifeline Theatre adaptations (including my all time favorite childhood book “Lyle, Lyle, Crocodile”), and here his role of Dragon breaks your heart as the Dragon who is a pacifist and longs to have friends rather than being feared. It’s a fine and subtle lesson about fear and prejudice as traditions that need to be broken in every generation. His characterization of the parrot D’Artagnan had everyone in the audience chuckling. He is physically nimble and obviously knows how to project emotion in spite of a giant papier-mache head.
Kudos is due to Scott Allen Luke as Prince Stanley. He is the perfect counterpoint to Princess Andy’s physicality. His character is studious and henpecked by his mother the Queen played with flair by Mallory Nees. Prince Stanley is told, “You must be more like a prince and less like you”. It is another good lesson in appearances and tradition no matter the time. Glass slippers, white horses, and dwarves can easily be seen as the cool shoes, toys, and school cliques in our time.
The staging of The Last of the Dragons is genius in its simplicity. The young audience can focus on the characters rather than lots of set dressing. The swordplay is not too violent and there are smart double entendres for everyone to enjoy. Director Dorothy Milne has managed to project the just right mix of whimsy and morality lessons with this production. Lifeline’s tagline is ‘big stories up close’ and they continue to be true to their word. The staging of the Dragon’s lair is funny and just scary enough. The Dragon is a beautiful mix of brocade and voile managing to cleverly encompass the breadth of the stage.
The music and lyrics are by Mikhail Fiksel, Kyle Hamman, and Alex Balestrieri. It is easy and fun to sing. In fact, I found myself humming the finale “Fly With A Dragon” as I walked home. David Bareford adapts this play from the story written by Ms. Nesbit, who collaborated with Kenneth Grahame of “Wind in the Willows” fame on her ‘Dragon’ stories toward the end of her colorful and turbulent life. The story is a fun fantasy that the kids will probably act out at home like any good childrens theatre or book. After I left, I recalled another theatre experience from the later 70’s called Warp by Stuart Gordon at the Organic Theater. This fine production of The Last of the Dragons is great preparation for more theatre in a child’s future whether they are three or ready for AARP.
If you have not yet been to a Lifeline Theatre production, this is an excellent one to attend – and see for yourself why this theatre company has been a long-time anchor in the Glenwood Arts District and a precious resource in the neighborhood as a whole.
Rating: ★★★
The Last of the Dragons runs through February 21st 2010. Shows are Saturdays at 1:00PM and Sundays at 11:00AM and 1:00PM. The Lifeline Theatre is located at 6912 Glenwood Avenue in Rogers Park. Call 773-761-4477 or visit www.lifelinetheatre.com for more information on Lifeline’s productions and other fun programs for children and adults alike. See you in the aisles!
REVIEW: Raven Theatre’s “Patchwork USA”
Patchwork USA Provides Simply Told Stories
Raven Theatre presents:
Patchwork USA
by Michael Menendian and Eugene Fern
directed by Michael Menendian
thru December 13th (ticket info)
reviewed by Paige Listerud
Probably no other children’s show this season is as simply produced as Patchwork USA, a world premiere from Raven Theatre’s Children’s Program, directed by Michael Menendian. Based on short children’s stories by Menendian and Eugene Fern, no frills sets, props, and costumes mean greater demands from the actors in terms of basic, direct storytelling for their very young audiences.
All of the actors provide accessible and approachable performances to encourage audience participation. McNeil and Sanchez particularly soon found favorites among children who regularly responded to questions designed to engage them in the characters’ dilemmas. Esteban Cruz stands out in his ability to animate his storytelling with enthusiasm and mischievous humor. His Lil’ Devil from “How I Love to Read” is especially memorable, as is the young boy from “The Happiest Day of My Life” who lives in anticipation of his first professional baseball game.
All stories fulfill the children’s program mission to instill an appreciation of differences in others, whether those differences refer to ethnic background, ability, or self-expression. The overall tone is one of building basic respect for one’s fellows, a tender blossom that can be easily run over in the holiday rush. This children’s show provides a real alternative for families looking for more wholesome entertainment this season.
Some stories may still benefit from further development. Perhaps reconsidering the story-within-a-story framework for some tales would provide more accessibility for its intended audience. If anything, more engagement, not less should be encouraged.
Rating: ★★½
Review: “A Very Merry Children’s Scientology Pageant”
Red Orchid Lets Religious Absurdity Loose
A Red Orchid Theatre presents:
A Very Merry Children’s Scientology Pageant
By Kyle Jarrow from a concept by Alex Timbers
Directed by Steve Wilson
Music Direction by Brandon Magid
thru January 3, 2010 (ticket info)
reviewed by Paige Listerud
It’s only November, but if you are already tired of virgin births, wise men led by stars, angels singing to shepherds or animals talking in mangers, then A Red Orchid Theatre’s remount of A Very Merry Children’s Scientology Pageant just might be the cure for what ails you. Based upon the self-promoted achievements of L. Ron Hubbard, the pageant explores one man’s search for the answers to life’s most important questions and his creation of the religion Scientology.
That children enact this story is the stroke of genius that A Red Orchid Theatre can pat itself on the back over for years to come. The pageant has quickly morphed into Chicago’s brand new holiday favorite–what with Next Theatre opening its production in two weeks. Will Chicago survive dueling Scientology pageants? Will these theaters survive an onslaught from Scientology’s lawyers? Is this a sign of the Apocalypse?
I hardly know which is scarier–Scientology, the story of the creation of Scientology, or the amount of talent these kids possess. Director Steve Wilson has one tight group of young actors at his disposal. They rock the house with angelic paeans to L. Ron Hubbard, slow-motion battle scenes, hilarious E-meter demonstrations, and fabulous portrayal of the sinister galactic overlord, Xenu. One actor even looks like a pre-teen Tom Cruise—now that’s scary.
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In a classic moment of paranoia, I considered whether this satire could actually be a vehicle promoting Scientology. For L. Ron, all paths for spiritual growth sooner or later lead to Hawaii. And why not? All the same, other than blasting away your engrams or your Thetans, Scientology still doesn’t have answers for who we are or what life’s purpose is all about. But in the midst of the joy of the Scientology pageant, we really don’t care.
Rating: ★★★
A Very Merry Unauthorized Children’s Scientology Pageant features A Red Orchid Theatre Youth Ensemble members Chaz Allen, Najwa Brown, Jaiden Fallo, Paola Lehman, Adam Rebora, Kara Ryan, Elenna Sindler and Aria Szalai-Raymond; as well as newcomers Elita Ernsteen, Katherine Jordan, and Alex Turner.
Photo Credits: Michael Brosilow
Review: Chicago Children’s Theatre’s “The Hundred Dresses”
Hilarious and touching – plus pretty dresses!
Chicago Children’s Theatre presents:
The Hundred Dresses
by G. Riley Mills and Ralph Covert
directed by Sean Graney
extended through November 22nd (buy tickets)
Reviewed by Oliver Sava
The Hundred Dresses is a pretty show: pretty music, pretty voices, pretty staging, and of course, pretty dresses. The 100 Dresses is also a children’s show. If you don’t get designated nap time or a half hour after lunch to play kickball, then you are probably not the target audience for Chicago Children’s Theatre. Luckily, however, The 100 Dresses is a great show; a musical that speaks to the hearts of anyone that has ever needed a friend.
Wanda Petronski (Lauren Patten) has just immigrated from Poland with her father, and she isn’t the same as the other girls. She speaks with a funny accent, wears the same blue dress to school everyday, and queen bee Peggy (Natalie Berg) just plain doesn’t like her. Caught in the middle is Peggy’s best friend Maddie (Leslie Ann Sheppard), who thinks Wanda is actually kind of nice. The girls start teasing Wanda, and when Wanda tells them that she actually has 100 dresses in her closet at home, the conflict escalates. When the bullying becomes too much, Jan (Kurt Ehrmann), Wanda’s father, pulls her out of the school and everyone involved learns a good lesson about the pain that bullying and teasing causes.
G. Riley Mills and Ralph Covert‘s script is straightforward but filled with hilarious jokes and inspirational moments, perfect for the children in the house. Meanwhile, the cast and director Sean Graney have found the serious reality behind the bright dresses and colorful schoolhouse, giving the musical a weight that makes it more than fluff theater that kills an hour of the babysitter’s time. When Peggy talks about how easy it is to get a job or spend hundreds on a dress, the people in the audience that are laughing are the teachers and the parents, not the kids. Adult characters like Jan Petrovski and Miss Mason (Nadirah Bost) are used to ground the world in a mature reality that is probably more 
engaging to an older audience. When Miss Mason learns about Wanda’s dead mother, Bost reacts with sympathy and tenderness that travels throughout the theater, warming the viewers to the Patrovski’s plight from the very beginning of the play.
The playwright duo brings the same mix of comedy and warmth to their music and lyrics, and the songs are catchy while still carrying great emotional gravity. “The Hundred Dresses,” Wanda’s heartbreaking solo where she reminisces about her life in Poland and how girls would dance in the dresses their mothers made, is exquisitely handled by Patten, finding the perfect balance between the joys and pains of youth that captures the tragedy of Wanda’s loss. While the script keeps a fairly light feel throughout, the music has a maturity and fullness that is captivating. When Wanda is absent for many days in a row, Maddie sings “Wanda Petrovski is Missing,” a rollercoaster of a ballad that requires a great belt, amazing diction, and razor sharp acting skills. Luckily, Sheppard is more than up for the task, and Maddie is a lovable protagonist that is easy to relate to.
All the actors that make up Wanda’s class of six have great chemistry with one another, and group numbers like “Penny Paddywack” are electric. The company’s voices all blend beautifully, and the melancholy “Passing of Autumn” is a wonderful showcase of their talents. Geoff Rice is adorable as class underdog Jack, whether he is stressing about winning the art contest or helping Maddie makes the right decisions, and Elana Ernst and Tyler Ravelson provide great comic relief two of Wanda’s goofy classmates; Ernst as hilariously airheaded diva Cecile and Ravelson as costumed class clown Willie.
And the dresses? Costume designer Jacqueline Firkins‘ creations are gorgeous.
Rating: ««««
Think Fast: Talk Like Shakespeare, Oz Ball, iPhone theatre
In honor of “Talk Like Shakespeare Day“, Chicago Public School students talk like Shakespeare…..
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Chicago theater happenings – Pegasus Players, Mary Poppins, Emerald City, and Porchlight Theatre
| »» | Broadway in Chicago’s upcoming musical, Mary Poppins, has extended their run for 2 more weeks, which now will run through July 12th. Contact Broadway in Chicago for info and tickets. |
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| »» | Emerald City Theatre will be offering a St. Patrick’s Day special for Saturday, March 14 and Sunday March 15 – wear green to performances on these dates and receive a free special gift from the Wizard! More info. |
 Porchlight Music Theatre will be holding their 3rd Annual Jazz Brunch at the Drake Hotel on Sunday, March 29th. Porchlight is Chicago’s music theatre leader, and this annual event is an important part of raising funds to continue their award-winning productions. For more info, send e-mail to porchlighttheatre@yahoo.com, call at 773-325-9884, or visit their website. |
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| »» | Don’t miss out on Pegasus Players‘ newest production, the world premier of “The Shape of the Girl” by Joan MacLeod. Starring Alice Wedoff, this one-woman show deals with the code of silence and tacit complicity surrounding the Reena Vick murder in Canada in 1997. Directed by Ilesa Duncan, The Shape of the Girl , running March 2nd through April 12th, is the perfect production to help celebrate the 30th-anniversary (!!) of Pegasus Players, a true Chicago theatrical treasure. |
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For Kids of all ages: Emerald City’s “Cinderella”
Emerald City Theatre‘s new whacky musical adaptation, Cinderella, with book and lyrics by Alyn Cardarelli (Artistic Director of Emerald City Theatre), music by Steve Goers and direction by Aritistic Associate Matthew Gunnels, opens tomorrow (February 14th) and runs through May 24th. From Emerald City’s flyer:
Anybody who’s anybody is going to the Royal Ball. Anybody that is except Cinderalla, whose feet are such an unusual size there are no shoes to fit them. But with the help of a fairy godmother, a little sword fighting and some sensible footwear, a happy ending is certainly in sight! This adaptation, designed to appeal to both boys and girls, is full of audience interaction! Children are invited to meet the actors after each weekend performance. (stress mine)
Sounds like a lot of fun to me! I always get a kick out of the raw response one gets from an audience filled with kids – and their eager interaction with the actors. Priceless.
One more cool thing: you can download preview songs from Cinderella here.
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Chicago theater tidbits: Tom O’Horgan, Tuta Theatre, Rachel Rockwell, Oleg Bogaev
Sheldon Patinkin, chair and collegue at the Columbia College Theater Department reminisces about about the late Tom O’Horgan, director of the original Broadway production of Hair. Sheldon Patinkin, worked with O’Horgan in the Playwrights Theatre Club in Chicago. Read the article at the Chicago Reader’s Onstage blog.
Picture: Tom O’Horgan
Extended: Marriott‘s “Theatre for Young People” has extended their present production, Aladdin, through August 19th. Directed and choreographed by Rachel Rockwell, Aladdin features music by Alan Menken, lyrics by Howard Ashman and Tim Rice, with the book adapted by Jim Luigs. For show dates/times, go to Marriott’s website.
Tuta Theatre hosts Reading of Oleg Bogav’s “Russian National Postal Service”
At 12 noon, Saturday, January 24th, TUTA headquarters are getting a whole lot more interesting. To help celebrate TUTA’s Chicago premier of Maria’s Field, in association with Chicago DCA Theater, playwright Oleg Bogaev will be coming all the way in from Russia. As an added bonus, TUTA is presenting a staged reading of Bogaev’s internationally acclaimed one act play: Russian National Postal Service, a rollicking and heartbreaking story of a lonely pensioner and the historical, popular, and other worldly figures of his imaginary correspondences. The reading, featuring actor Gary Houston, will be followed by a discussion with Oleg Bogaev about his work, his experiences, and the state of the art. Coffee and treats will be served up with this delightful event, and admission is FREE.
What: The Russian National Postal Service
Staged reading and discussion with playwright, Oleg Bogaev
When: Saturday, January 24th, 12pm
Where: The TUTA Loft, 2032 W. Fulton, Chicago, IL 60612
(3 blocks south of Grand, Just west of Damen)
How Much: FREE
For WGN Radio – My summer picks…
For Kids and Families:
- Lyle, Lyle, the Crocodile, Lifeline Theatre
- June 13th -July 13th; Friday-Sunday at 1pm
- Tickets: $10
- Cirque Shanghai: Gold ; Navy Pier outdoor theater
- Runs all summer through Sept. 1st
- Performed at outdoor theater at Navy Pier (just east of Ferris Wheel), so take in the show, then experience the huge fireworks display every Wednesday and Saturday evening.
- Tickets: $12.50-$30
- Willy Wonka, Chicago Shakespeare at Navy Pier
- July 8th – August 17th
- Tickets: $18-$23
- Blue Man Group, Briar Street Theatre
- Super-fun for kids of all ages
- Tickets: $49-$59 (box office: 773-348-4000)
For Teens (and the young-at-heart):
- Too Much Light Makes the Baby Go Blind, Neo-Futurists
- Experience Chicago’s longest running play – 20 years and counting!
- Days/Times: Friday-Saturday, 11pm, Sunday 7pm
- Price: $6 plus the roll of a dice (so $7-$12 – is that cool or what?!?)
- That’s Weird Grandma, Barrel of Monkeys
- Monday nights, 8pm
- Adults: $9 // Kids: $4
Broadway In Chicago (the big downtown shows):
- Wicked, Ford Center for the Performing Arts (Oriental Theatre)
- After 4 super-successful years,Wicked, has announced that it will officially close in January 2009. So catch it while you can!
- Ticket Price: $30-$95 (Box Office: 312-902-1400)
- Jersey Boys, Bank of America Theatre (formerly Schubert Theatre)
- Open run
- Ticket Price: $30-$95 (Box Office: 312-902-1400)
- Shout!, Drury Lane Watertower
- Through July 20th
- Tickets: $45-$55 (Box Office: 312-902-1400)
For Date Night:
- Jacques Brel’s “Lonesome Losers of the Night”, Theo Ubique Theatre
- runs through July 20th
- Tickets: $10-$20 (Box Office: 773-743-3355)
My two-pennies worth:
You haven’t experienced Chicago until you’ve ventured north to The Heartland Cafe in East Rogers Park. First opened in the 1970′s, this earthy restaurant and bar jettisons you back to the late 1960′s and early 70′s (in a granola and incense kind-of-way). The musical review, Lonesome Losers of the Night, is performed in an intimate coffee house down the street from Heartland, so first grab a bite to eat at Heartland, walk down the block to the performance, then mosey back down to The Heartland for drinks and nightly live music.
Comedy
- Campaign Super Nova: or How Many Democrats Does It Take To Lose An Election?
- Second City’s newest review
- Open run, tickets: $19-$25 (Box Office: 312-337-3992)
- Dead Man’s Cell Phone, Steppenwolf Theatre
- runs through July 27
- Tickets: $20-$68 (Box Office: 312-335-1650)
- Co-Ed Prison Sluts, Annoyance Theatre
- Annoyance Theatre brings back their raunchy long-running hit of the 80′s and 90′s.
- Runs July 4th – August 29th
- Tickets: $15 (Box Office: 773-561-4665)
- Comedy Sportz – Comedy Sportz Theatre, Belmont and Clark
- audience-interactive comedy competition between two teams of improv comedians, who perform a series of scenes and songs, all based on suggestions from the audience
- Open run, now in their 21st year
- Ticket prices vary, (Box Office: 773-549-8080)
Drama
- A Steady Rain, Royal George Theatre
- extended through Oct 5 (then on to Broadway?)
- Tickets: $50 (box office: 312-988-9000)
- Taste of Honey, Shattered Globe Theatre Ensemble
- runs through July 5th
- Tickets: $15-$35, (box office: 773-871-3000)
- Hizzoner, Prop Thtr (performed at Beverly Arts Center)
- Running for over 2-years, this play eerily depicts the infamous Mayor Richard J. Daley and inner-workings of “The Machine”
- runs through July 29th
- tickets: $40
Musicals:
- Fiorello, Timeline Theatre
- runs through July 20th
- Tickets: $15-$30 (Box Office: 773-281-8463)
- Ain’t Misbehavin’, Goodman Theatre
- running June 21st – July 27th
- Tickets: not yet announced (Box Office: 312-443-3800)
- Jekyll & Hyde, Bohemian Theatre Ensemble
- through July 20th
- Tickets: $20-$27 (Box Office: 773-327-5252)
- Hunchback of Notre Dame, Bailiwick Repertory
- composed by Dennis DeYoung of the band “Styx
- runs through July 6t
- Tickets: $25-$45 (Box Office: 773-883-1090)
- Buddy: The Buddy Holly Story, Drury Lane Theatre, Oakbrook Terrace
- runs through July 27th
- tickets: $28-$33
Praise for Chicago’s Entertainment Project
Since 1993, The Entertainment Project of Chicago has been hosting one of the nation’s top arts camp, as well as producing dozens of first-rate plays and performances. I found some fun clips on YouTube featuring some of these productions. Special thanks and admiration goes to the entire staff of the Project, especially executive director, and founder, Timothy Kiernan.
