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INTERVIEW: Playwright Lisa Loomer
Playwright Lisa Loomer discusses her new play, Distracted, currently playing at American Theatre Company through February 28th.
It’s hard to keep up with Lisa Loomer. The prolific playwright’s work has been produced around the globe in such countries as Germany, Mexico, Israel and Egypt. She’s the recipient of a New York Foundation for the Arts grant, two grants from the National Endowment for the Arts as well as a handful of awards. In addition, her plays The Waiting Room—which is about the effects of cosmetic body modification on women—and Living Out—a piece that explores the relationship between a Salvadoran nanny and the Anglo lawyer for whom she works—are both taught in women’s studies and Latino studies programs.
Always one to gain inspiration from personal experience, it is only natural that Loomer would incorporate this idea of busyness in a play. Her piece Distracted, which is receiving its Chicago premier at American Theatre Company, explores the themes of sensory and information overload in our society, and more specifically, Attention Deficit Disorder. The conduits for the story are a husband, wife and their fidgety 8-year-old son. It’s part of the ATC’s 25th season, which explores the identity of the American family.
ChicagoTheaterBlog: American Theatre Company’s 25th season focuses on the American family. How do you think Distracted fits into this theme?
Loomer: Well, I think it fits all too well. Aside from the increasing number of children diagnosed with ADD and the huge rise in the number of psychiatric drug prescriptions written for children, it’s about how we live right now—our world of screens, our fractured attention spans, our need for stimulation and the effects on the family.
CTB: Distracted premiered in 2007. A lot has happened in the U.S. since then, including the election of our first multi-racial president, the collapse of our economy and, of course, the health care debate. Do you think in light of these historical changes, the play has taken on new significance?
Loomer: I think the play is about a society in a mad rush to keep up. I heard it in the State of The Union speech the other night, “We must keep up with China, with India, we cannot be second.” We need our stimulants and other drugs, our ever-changing Windows, our quick cuts, our frenetic rap. They keep us going. And as we fall behind in the world, as we see ourselves as struggling, I think it makes us run even faster. In terms of health care, I’m afraid I do see the drug companies as preying on this need of ours to perform, to be the best.
CTB: Distracted deals with issues related to ADD. What is it about our contemporary culture that has destroyed our attention spans? Is it Facebook, Twitter, 24-hour news cycles, etc.?
Loomer: Well, first of all, let me say that I do not believe ADHD is simply a cultural phenomenon. Scientists have isolated genes that are involved in ADHD. It is quite real, and I would never minimize its impact on the people who have it or their teachers or families. Whether it is a “difference” or a “disorder” is a question that I pose in the play. And I believe that what is a “difference” in the context of one society might be a “disorder” or “dysfunction” in another. That said, I do think that Xboxes and Twitter and the barrage of 24-hour news, etc. has had an effect on our attention spans. It’s harder to sit still, to contemplate, to wait and to pay attention. And what is attention? For me it is the ability to be present with someone without judgment. And that’s even harder to do when you’re distracted.
CTB: What themes are pervasive throughout your work? Why do you feel you focus on these concepts? Is it a conscious effort?
Loomer: I tend to be moved to write when something bugs me. I seem to have written a lot about balance or the need for balance—the balance of masculine versus feminine, nature versus science, Anglo culture versus Latino culture, the powerful versus the powerless, life versus art. It wasn’t conscious, no. But after a while it became clear even to me.
CTB: Tell me about your writing process. Where do you get your ideas, and how do you flesh them out into a full piece?
Loomer: I tend to get ideas by what I see around me. I wrote Living Out when my son was little and I spent a lot of time in the park, listening to both nannies and moms. I wrote The Waiting Room when the dangers of breast implants were in the news and a friend also wanted me to do something on Chinese foot binding and my mother was dying of cancer. I’m writing now about Israel and Palestine because, well, I read the papers and because I get a dozen passionate e-mails everyday from both sides. Once I do have an idea or an impetus or I’m pissed off enough, a character will appear in my mind and start talking and taking action. And then other characters will appear and start to disagree and get in the way. Once I have a first draft, I will say, “Now what does this want to be about?” And I’ll start to shape.
CTB: You’ve done stand-up comedy. Do you still perform stand-up today? How has this influenced your playwriting?
Loomer: I did stand up, political mostly, for a very short time. Mostly, when I did comedy, it was one-person shows in the vein of Lilly Tomlin. I was an actress, and character comedy and working in political-comedy/performance groups was part of being an actress for me. If stand-up influenced me at all, it made me appreciate the value of cutting. Being an actress had a far greater impact on me as a playwright.
CTB: What advice do you have for aspiring playwrights who wish to see their work produced?
Loomer: Well, my advice is always write what you have to write, write what is yours to write and never write to please or be “popular.” Your job is to do your body of work—no one else’s. I can’t tell anyone how to get produced. But I believe that the more you allow your own voice, no matter how strange, and explore your own interests, no matter how controversial, the more satisfying it will be. I also advise living your life so you have something to write about, talking to everyone about everything and going to the theater.
distracted is currently play at American Theatre Company through February 28th.
written by Lisa Loomer
directed by PJ Paparelli
January 28 – February 28 (ticket and show info)
Thursdays, Fridays and Saturdays at 8pm
Saturdays and Sundays at 3pm
run-time: 2 hours, with one intermission
kid-friendly?: recommended for ages 14 and up
REVIEW: Annie (Broadway in Chicago)
A familiar show for kids of all ages
Broadway in Chicago presents:
Annie
Book by Thomas Meehan
Music and lyrics by Charles Strouse and Marin Charnin
directed by Martin Charnin
thru January 24th at the Auditorium Theatre
review by Aggie Hewitt
In this dark re-imagining of the Broadway classic Annie, executive producer Kary M. Walker gives us an in-your-face look at the cold realities of depression era life, exploring big business, child abuse and of course the vague references to Annie’s Electra Complex buried deep within the play’s subtext.
Just kidding! It’s Annie! Shiny, happy Annie. The 1977 musical about the spunky little red head who’s prediction that “The Sun Will Come Out Tomorrow,” actually comes true.
This play means different things to different people. To kids who go to see it, it must be a great night. They came to the Auditorium Theatre on the night of the Annie Chicago premier dressed in white tights and pink coats, ready for a night at the theater, and I doubt they were disappointed. Lynn Andrews’ hilariously 
cruel and pathetic Miss Hanigan was a stand out, and her clownish rendition of “Little Girls” was a highlight.
In kid’s entertainment, the children on stage are more appealing to the parents than the little ones in the audience. Of course kids like seeing other kids with grown up jobs, like acting in a big budget musical. They also like stories they can relate to, that are about children. But as far as the cutesy singing and dancing in Annie, that’s tailored to adult taste. Annie is an adult impression of an ideal child, as are her fellow orphans. For the adults who watch Annie, the kids are the best part. In this production, Madison Kerth is a confident Annie with a powerful singing voice and a very good actress as well. The children perform “A Hard Knock Life” with frustration and that adorable, Annie-esque gallows humor for kids, which has made this show a funny hit for 32 years. And the stand out of the whole production is the super cute seven year old Mackenzie Aladjem, playing the youngest orphan-girl, Molly. With her messy brown hair and her runt-of-the-litter quality, this little thing stole every scene she set foot in.
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The two black sheep in the audience that night were companion and me, who both long ago traded pink coats and white tights for Marc Jacobs knock offs and black leggings. During intermission, my friend turned to me and said, “I want to see what happened before Annie. What did Daddy Warbucks do that was so bad he needed to bring an orphan home for the good P.R?” Twenty-Somethings in 2010 may have trouble trusting Annie—The world famous musical who’s original Broadway production made 22 million dollars. We see Daddy Warbucks (played here by David Barton) as a weird combination of Woody Allen and Rupert Murdock. But it’s best for guys like us to check our cynicism at the door, or if that’s not possible just not go. It’s to easy to be cynical about a show like this. Its fun for kids, and it’s shiny and bright. The actors hit their marks and sing like birds. It’s Annie, the same Annie you remember from when you were a kid. This play is not necessarily regarded as a children’s show, it’s more a musical that kids will love. At this point, Annie is something for families and hard core musical fans. There is nothing wrong with that.
Rating: ★★★
all all pictures by Peter Coombs
REVIEW: Dreamgirls (Broadway in Chicago)
Talented Cast Shimmers and Shines
Broadway in Chicago presents:
Dreamgirls
Book and Lyrics by Tom Eyen
Music by Henry Krieger
Directed and Choreographed by Robert Longbottom
thru January 31st (ticket info)
By Keith Ecker
If there is one thing the stage production of Dreamgirls will always have over the film, it is the sequins. Video cannot convey the absolute beauty of the costumes that adorn the actresses, costumes that appear just as glittery as Bob Mackie’s most flamboyant creations. William Ivey Long gets a hat tip for costume design, which comes as no surprise considering the man is a veteran of Broadway. He’s won five of the 11 Tony nominations he’s received and is an inductee in the Theatre Hall of Fame, a hall that I am sure is just as glamorous as Long’s aesthetic sensibility.
Of course, Dreamgirls is more than just elegant gowns and flared pants—it’s about the singing. And this show, produced by Broadway in Chicago at the Cadillac Palace Theatre, definitely delivers. These actors can wail. From guttural growls that convey the rawest of emotions to controlled, sustained tones that capture the world-weariness of the characters, the Dreamgirls cast sports an impressive set of pipes.
The play is a fictional tale based on the true tribulations of such early R&B acts as the Supremes. At the opening, three female singers from Chicago, known as the Dreamettes, hope to get their big break at the legendary Apollo Theater in New York. Effie (Moya Angela) is the full-figured lead with an Aretha Franklin-like strength to her voice. Her friends Deena (Syesha Mercado) and Lorrell (Adrienne Warren) serve as her back up. Effie’s brother C.C. (Trevon Davis) writes all their music. The group doesn’t make the cut at the Apollo, but thanks to their newfound manager, Curtis (Chaz Lamar Shepherd), they get a 10-week touring gig backing up-and-comer Jimmy Early (Chester Gregory). Effie doesn’t take well to the idea of being second banana, but she goes along for the good of the group.
Curtis eventually spins the Dreamettes off into their own act, now known as the “Dreams”. Despite having a romantic relationship with Effie, he bumps her from lead for the more camera-friendly Deena, who Curtis then begins courting. Becoming increasingly agitated and unpredictable, Effie is replaced, leading to the musical’s famous torch song “And I’m Telling You I’m Not Going.”
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The Dreams wrestle with fame, Curtis continues his greed-induced destructive path and Effie must find herself after being forced to realize she is not the center of the universe. And did I mention the sequins?
Angela as Effie is brilliant. Her rendition of “And I’m Telling You I’m Not Going” is a showstopper. As she staggers, sways and belts out the tune during the complete and utter breakdown of Effie’s ego, your gut is as wrenched as your ears are pleasured.
Equally impressive is Gregory’s portrayal of Jimmy Early. The role is incredibly demanding, requiring superb vocal control, an impeccable sense of soul, physical endurance and strength and precise comedic timing. Gregory nails it, juggling all these attributes at once. A perfect example of this display of multi-talent takes place during the number “The Rap,” where Jimmy throws off all restraints and reclaims his sense of soul. For those unfamiliar with the play, I’d rather not spoil the scene, but I will say there’s ample dipping.
The set design is minimal, providing an open space for lots of jumping, jiving and sashaying. Most of the set is composed of five very tall video screens, which are used to full effect. At one point, a camera cleverly positioned above the stage displays a Busby Berkeley-style chorus number as if the performers were a cluster of synchronized swimmers.
There were a few sound issues. During the first act, mics were set too low and sometimes cut out. There was also a technical gaff during the reprise of “Cadillac Car.” But such issues aren’t likely to recur.
Beautiful both visually and aurally, Broadway in Chicago’s production of Dreamgirls is sure to please both the casual theatergoer and the diehard musical fanatic.
Rating: ★★★★
Shows Opening/Closing this week
“Master Harold”…and the Boys
The Alcyone Festival 2010 - Halcyon Theatre
The Castle - Oracle Theatre
Desperately Seeking - Chemically Imbalanced Theater
Dreamgirls - Cadillac Palace Theatre (Broadway in Chicago)
First Words - Greenhouse Theater Center (MPAACT)
The Dames Storm Division - New Millenium Theatre
Glitter in the Gutter - Annoyance Theatre
Harper Regan - Steep Theatre
Hughie/Krapp’s Last Tape - Goodman Theatre
King of the Mountain - Chemically Imbalanced Theater
Nighthawk Sandwich - Storefront Theater (DCA Theatre)
Phedra - New World Repertory Theatre
Real Bros of DuPage County - Gorilla Tango Theatre
Savage in Limbo - Village Players Performing Arts Center
Short Shakespeare! The Comedy of Errors - Chicago Shakespeare
WHACK! - Gorilla Tango Theatre
The Year of Magical Thinking - Court Theatre
Annie - Auditorium Theatre of Roosevelt University
The Capitol Steps - North Shore Center for the Performing Arts
Cloud Gate Dance Theatre of Taiwan - Dance Center of Columbia College
Give Us Monday - Gorilla Tango Theatre
Icarus - Lookingglass Theatre
Little Women - Circle Theatre
Mamma Mia! - Rosemont Theatre
Mark and Laura’s Couples Advice Christmas Special - Gorilla Tango Theatre
Openings/Closings list courtesy of League of Chicago Theatres
REVIEW: In the Heights
Latin flavored, hip-hop musical speaks to any community
Broadway in Chicago presents:
In The Heights
Book by Quiara Alegria Hudes
Music and Lyrics by Lin Manuel-Miranda
Choreography by Andy Blankenbuehler
thru January 3rd (ticket info)
Review by Oliver Sava
Lin Manuel-Miranda‘s Tony-award winning music and lyrics for In The Heights are filled with so much passion and life that it would be difficult for any company to turn in low energy performances. The national tour of the 2008 Tony award winner for Best Musical finally arrives in Chicago for a limited two week run, and while the setting may be New York City’s Washington Heights, the show tells a story that will resonate with denizens of any neighborhood. The Latin influence of Miranda’s score, combined with hip-hop beats and raps, creates a beautifully layered musical mosaic with wonderful versatility. Miranda also has a great talent for taking classical musical theater techniques and giving them a fresh, modern flair. The opening number seamlessly introduced characters and their relationship without becoming too expository, a feat accomplished by shifting musical themes.
Usnavi (Kyle Beltran), the musical’s protagonist, primarily resides musically in the world of hip hop and rap. The play’s older characters, Abuela (Claudia Santora) and Kevin (Daniel Bolero) and Camila Rosario (Natalie Toro), in Latin folk, and the women of the Unisex Salon, Daniela (Isabel Santiago) and Carla (Genny Lis Padilla), in Salsa. Benny (Rogelio Douglas Jr.), the only non-Hispanic character of the show, is accompanied by Reggaeton beats, and the female love interests Vanessa (Yvette Gonzalez-Nacer) and Nina (Arielle Jacobs) bring the flavors of Latin pop. The music brings definition to the characters, making the actors’ jobs much easier. The tightness of the entire team, including the rich book by Quiara Alegria Hudes, brings so many layers to the world of the play.
Nobody soars more than Jacobs as the conflicted, guilt-filled Nina, back home with 20the news that Washington Heights’ sure-fire success is now a college dropout. Her vocals are phenomenal and they blend beautifully with Douglas Jr.’s for their numerous duets. Andy Blankenbuehler‘s choreography finds the perfect balance of dance styles to match the variety of the musical score, combining the hard hitting pops and locks of hip-hop with the smoothness of Latin ballroom choreography. The visual images are stunning, and the unique rhythm of the movement makes the dance sequences unpredictable and completely enthralling.
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In The Heights was a labor of love for the original Broadway cast, performing that rare feat of transferring an original musical from Off-Broadway to Great White Way success, but how can someone step into a role that is so defined by the actor that originated it? The main character in particular has become so associated with Miranda that it is difficult to imagine anyone that could step in the composer-actor’s shoes, yet Beltran does a more than serviceable job. The best thing that can be said about the actors is that they have found their homes in this world, and that is what lies at the heart of In The Heights: home. The connection between the characters and their neighborhood is what creates the most dramatic, emotional events of the play, and the actors have fallen into a world of rusty fire escapes and melting Piragua on their fingertips completely.
In The Heights may be a crowd-pleasing combination of musical theater, big dance numbers and hip music and belted ballads, but it’s also very good musical theater. It’s not perfection, and sometimes the energy on stage could be even more explosive, but it has a big heart that shows a love for its musical predecessors. The musical is a love letter to community and to the hundreds of stories the past holds, whether on a street corner or Puerta Plata, and the touring company successfully makes their home our home.
Rating: ★★★
Five last-minute gifts for your Chicago theater-loving friends
Five last-minute gifts for your Chicago theater-loving friends
Still wracking your brain for the perfect gift? Here are a few last minute ideas for the local theater fans on your list.
Theater tour tickets
Take your friends on a tour of a treasure of Chicago’s Theatre District. Modestly priced backstage tours highlight the beautiful architecture and rich performance history of the Loop’s gorgeous historic theaters. Check out the Chicago Theatre Marquee Tour, $12; Auditorium Theatre Tour, $10; and the Broadway in Chicago Venue Tours (each BIC tour covers two theaters from among the Oriental Theatre, the Cadillac Palace and the Bank of America Theatre), $10. If you want to be lavish, throw in a gift card for a post-tour meal at Petterino’s in the Theatre District.
Theater passes
The League of Chicago Theatres’ Play Money is the perfect one- size-fits-all gift. These $25 certificates are redeemable at more than 75 Chicagoland theaters for up to a year, so recipients can choose the play and performance that suits them best. A copy of the Chicagoplays Theater Guide is included. Or, for a versatile gift to a family or a theater-loving friend, a $95 Theatre Building Chicago Pass offers five tickets to any shows at the Lakeview theater complex in the coming year: five admissions at once, one at a time, or in any combination the recipient prefers.
Playwriting classes
Sign the budding dramatist on your list up for instruction from seasoned playwrights at the award-winning Chicago Dramatists or a musical workshop at Theatre Building Chicago. Of course, you’ll have to promise to attend any resulting performances.
Chicago theater books
With express shipping, there’s still time to get copies of these books on the fascinating history of Chicago’s theater scene: A Theater of Our Own: A History and a Memoir of 1,001 Nights in Chicago by longtime Chicago Tribune critic Richard Christiansen; Steppenwolf: Steppenwolf Theatre Company : Twenty-Five Years of an Actor’s Theater, famed photographer Victor Skrebneski‘s book featuring production highlights and portraits of Steppenwolf’s ensemble; and The Second City: Backstage at the World’s Greatest Comedy Theater — one of the early directors at the Second City, Sheldon Patinkin traces the origins of Second City back to 1955 in this book with two audio CDs.
Theater toys
For the theater buff who has everything, how about a Shakespeare action figure, complete with removable book and quill pen? Or a set of playing cards each featuring an insulting remark from The Bard? Chicago Shakespeare has it covered.
Billy Elliot announces entire Chicago cast, including 4th Billy
“Billy Elliot” announced Chicago cast
Including J.P. Viernes as Chicago’s 4th Billy
Universal Pictures Stage Productions, Working Title Films and Old Vic Productions in association with Weinstein Live Entertainment, has announced, with Broadway In Chicago, casting for the Chicago production of Billy Elliot the Musical, previews beginning March 18th at the Oriental Theatre; opening night being Sunday, April 11th. The cast includes John Peter (J.P.) Viernes who joins the previously announced actors Tommy Batchelor, Giuseppe Bausilio and Cesar Corrales in the role of ‘Billy’.
Below: 3 of the 4 Billy’s
Starring in Billy Elliot are Armand Schultz (Dad); Cynthia Darlow (Grandma); Patrick Mulvey (Tony); Keean Johnson and Gabriel Rush (Michael); Chicagoan Samuel Pergande (Billy’s Older Self); Jim Ortlieb (George); Chicagoan Susie McMonagle (Mum); Chicagoan Blake Hammond (Mr. Braithwaite); and Maria Connelly (Debbie).
Also featured are Matt Allen; Jason Babinsky; Chicagoan Elijah Barker; Madison Barnes; Cindy Benson; Sara Brians; Chicagoan Tony Clarno; Abby Church; Christine DeFillipo; Alexandra Dell’Edera; Faith Fetscher; Susan Haefner; Ryan Kasprzak; Chicagoan Kayla King; Kent Lewis; Will Mann; Kate Marilley; Spencer Milford; Brittany Nicholas; Chicagoan Mark Page; Mitch Poulos; Emily Richardson; Annelise Ritacca; Michaeljon Slinger; Jaclyn Taylor Ruggiero; Jamie Torcellini; Nicholas Torres; Brionna Trilling; and Kayla Vanderbilt. Additional casting will be announced at a later date.
About “Billy Elliot”
Billy Elliot is the funny, heartwarming tale of a young boy with a dream, and a celebration of his triumph against the odds. Set against the historic British miners’ strike of the 1980s, the story follows Billy’s journey as a boy in a small mining town who, after stumbling across a ballet class while on his way to a boxing lesson, realizes that his future lay not in the boxing ring but on stage as a dancer.
Featuring music by Elton John, book and lyrics by Lee Hall, choreographed by Peter Darling and directed by Stephen Daldry, Billy Elliot opened at Broadway’s Imperial Theatre on November 13, 2008 and was the winner of ten 2009 Tony Awards, including Best Musical.
The Addams Family: Lawry’s Spooky-themed dinner special
The perfect Chicago-themed holiday stocking stuffer?
Acclaimed Chicago restaurant Lawry’s Prime Rib, located in the historic McCormick Mansion, has created, just for Addams Family the Musical, a Creepy and Kooky, Mysterious and Spooky themed dinner.
What does this Addams Family Dinner/Theatre package include?
- Starters: Eye of Newt Shooter, Green Pimento Olive Suspended in Citrus Jello, Served with a small wedge of Munsters’ Cheese; The Aristotle Salad, Hearts of Romaine Salad, Cucumbers, Green Onions, Lemon Vinaigrette topped with Grilled Octopus; Mon Cherie, Cara Mia Intermezzo, Cherry Sorbetto.
- The entrée includes Lawry’s Prime Ribs of Beef (8 oz. cut), Au Jus, Yorkshire Pudding, Creamed Spinach a la “Cleopatra,” Mashed Potatoes. Optional entrees include Fresh Grilled Salmon, Vegetarian Pasta.
- Finish with Thing’s Dessert, Lady Finger Trifle.
A perfect holiday stocking stuffer, the dinner-theatre package includes a “snappy” 2 p.m. matinee performance at the theatre, followed by a 5 p.m. dinner at Lawry’s and is priced at $165 for adults, $140 for children ages 11 and under (plus tax and gratuity).
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For more information, and to order the Addams Family Dinner-Theatre Package, call Lawry’s at (312) 787-5000 ext. 25.
REVIEW: “The Addams Family – The Musical”
Sizzling Cast – Lukewarm Story
The Addams Family
Book by Marshall Brickman & Rick Elice
Music & Lyrics by Andrew Lippa
Directed by Phelim McDermott & Julian Crouch
thru January 10th (ticket information)
Reviewed by Catey Sullivan
Fair to snappy score, piffling to predictable story and characters of cartoon depth. That about sums up the much-anticipated new musical based on the mordantly brilliant cartoons of Charles Addams. And oh yes, multi-million dollar whiz bang production values and a cast comprised of some of the biggest stars known to the biz of show. Minus Nathan Lane and Bebe Neuwirth – talents as brilliant in their fields as Addams 
was in his – would The Addams Family musical be worthy of its pre-Broadway hype? We’d argue ‘no,’ but that argument’s probably beside the point.
With Lane and Neuwirth as Gomez and Morticia Addams, the score and the book could be a creation of cringing mediocrity and nobody’d much notice. Lane can – and here, does – wrest belly laughs from jokes that would fall flatter than a week-old, lead-lined pancake if delivered by lesser lights. Neuwirth is his match as the slinky, femme-fatale mistress of the ooky-spooky mansion. With legs and hair that go from here ‘til eternity and a whiskey-and-velvet alto voice that screams “come hither” even when it says something completely different, she simply kills it as Morticia.
As for the story that contains these luminaries, think “You Can’t Take It With You” with ghosts and monsters. Marshall Brickman and Rick Elice’s book focuses on Wednesday Addams (Krysta Rodriguez, instilling Wednesday with a definite S & M flair) and her romance with the comparatively normal Lucas Beineke (Wesley Taylor, the clean-cut ‘M’ to Rodriguez’ domineering ‘S’). As in Kaufman and Hart’s depression-era classic, the romance is complicated by clashing parents. Lucas’s folks are prim, proper and repressed. The Addamses? Not so much.
Wackiness ensues when the buttoned-up Beinekes are confronted with the questionably alive Lurch (Zachary James, a literally towering presence whose basso profundo steals the show in the finale) upon entering the Addams’ Central Park manse. It ensues further as the Beinekes contend with lovesick sea-monsters, chairs that double as castration devices, saber-rattling ghosts and hosts and the shamelessly demonstrative lustful affection between Morticia and Gomez.
Andrew Lippa’s score is colored throughout by Gomez’ Spanish ancestry. Its flamenco/tango stylings are serviceable, but in all, the music is more flash than depth. Curiously, the best songs don’t go to Lane or Neuwirth. The latter’s big number comes with “Second Banana”, an utterly forgettable lament about aging. Lane gets “Happy/Sad,” a second act crooner that is sweet but generic. It is Mrs. Bieneke (Carolee Carmello, a belter of deceptively mousy demeanor) who gets the Act I showstopper (“Waiting”) and Mr. Bieneke (Terrence Mann, in fine voice) who raises the roof and brings down the house in Act II with “In the Arms,” a hilarious ode to cephalopod love.
As for the big 11 O’Clock penultimate finale, that has more to do with swashbuckling spectacle and an all-hands-on-deck sword fight than with musical virtuosity. (Choreographer Sergio Trujillo draws a page from “Thriller” for much of the rest of the show, as a chorus of the dead engages in lively dances with gravestones. ) If you’re waiting for a star turn (a la The Producers “Betrayed”) that puts Lane’s incandescent leading man capabilities in the white-hot light they deserve, it never arrives. As far as the score is concerned, Lane’s role is oddly underwritten.
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Director/designers Phelim McDermott and Julian Crouch have crafted a show that looks thrilling and moves at a spirited clip. That’s all well and good – but hardly the stuff of a deserving Broadway blockbuster.
Fans of the 1960s “Addams Family” television series will find all the show’s deliciously macabre eccentricities in place. Cousin Itt makes an appearance. “Thing” is featured prominently. Fester (an infectiously gleeful Kevin Chamberlin) serves as both narrator and odd-man Greek chorus of sorts. Ukulele in hand, he gets some of the evening’s most creative special effects (and amusing choreography) in a free-floating love song to the moon. And as Grandma, Jackie Hoffman makes the mighty most of a small part, delivering the show’s best lines with a pitch-perfect irreverence that stops the show with every punchline.
For boomers who loved the finger-snapping show, The Addams Family is a must. Ditto for those who treasure any chance to see Lane and Neuwirth perform live. For the rest, there’s just not much there.
Rating: ★★★
“The Addams Family” continues through Jan. 10 at the Oriental Theatre, 24 W. Randolph Street. Tickets are $28 – $105. For more information, go to www.broadwayinchicago.com
This week’s Openings and Closings
show openings
The Addams Family - Broadway In Chicago
American Buffalo - Steppenwolf Theatre
Christmas Follies - Chicago Gay Men’s Chorus
The Nutcracker - Center for the Performing Arts at Governors State University
The Nutcracker - North Shore Center for the Performing Arts
In the Heights - Broadway In Chicago
It’s a Wonderful Life - Improv Playhouse Radio Theatre
It’s a Wonderful Life - AFTRA/SAG Senior Radio Players
Rent, School Edition - Studio BE
Salsa Sketch - Gorilla Tango Theatre
show closings
CUBA and his Teddy Bear – UrbanTheater / PEOPLE’S Theater of Chicago
The Dreamers - Theatre Building Chicago
How to Act Around Cops - The Artistic Home
The Mercy Seat - Profiles Theatre
The Mystery of Irma Vep - Court Theatre
The Nutcracker Sings - Jedlicka Performing Arts Center
Patchwork U.S.A. - Raven Theatre
Peter Gallagher, Don’t Give Up on Me - Drury Lane Theatre Water Tower Place
Stars in the Attic - Gorilla Tango Theatre
Summer People - The Gift Theatre
Time Traveling Mom-Dad - Gorilla Tango Theatre
Towards the Sun! - Gorilla Tango Theatre
Young Frankenstein - Broadway In Chicago
“Addams Family – the Musical” opens this weekend!!
UPDATE: Read our review – 3 stars!! click here
After months of anticipation, The Addams Family (with music/lyrics by Andrew Lippa), finally begins previews this weekend, starting November 13, 2009 at the Ford Center for the Performing Arts, Oriental Theatre. Starring two-time Tony Award winners Nathan Lane and Bebe Neuwirth as Gomez and Morticia, The Addams Family will make its world premiere on Wednesday, December 9. Official website.
Some of the Addams Family famous cast:
| Nathan Lane as “Gomez” | Bebe Neuwirth as “Mortisha” |
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| Adam Riegler as “Pugsley” | Terrence Mann as “Mal Beineke” |
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| Krysta Rodriguez as “Wednesday” | Kevin Chamberlain as “Uncle Fester” |
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| Wesley Taylor as Lucas Beineke | Zachary James as “Lurch” |
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