Tag: Bernie Yvon

Review: Cabaret (Marriott Theatre)

Stephen Schellhardt, Chadae Nichol and Alexandra Palkovic perform "Two Ladies" from Marriott Theatre's "Cabaret" by Kander and Ebb, directed by David H. Bell. (photo credit: Peter Coombs)        
       
Cabaret 

Written by John Kander and Fred Ebb
Book by Joe Masteroff  
Directed by David H. Bell
at Marriott Theatre, Lincolnshire (map)
thru March 16  |  tickets: $40-$48   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

   
February 16, 2014 | 1 Comment More

Review: Mary Poppins (Marriott Theatre)

Summer Naomi Smart as Mary Poppins in Marriott Theatre's "Mary Poppins," directed by Gary Griffin. (photo credit: Peter Coombs)

       
      
Mary Poppins 

Music/Lyrics by Richard and Robert Sherman,
    George Stiles and Anthony Drewe
Book by Julian Fellowes
Directed by Gary Griffin
at Marriott Theatre, Lincolnshire (map)
thru Jan 5  |  tickets: $40-$48   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

November 10, 2013 | 0 Comments More

Review: I Love You, You’re Perfect, Now Change (Marriott Theatre)

Alex Goodrich, Bernie Yvon, Kelly Anne Clark and Johanna McKenzie Miller star in Marriott Theatre's "I Love You, You're Perfect, Now Change" by Joe DiPietro and Jimmy Roberts, directed by Matt Raftery. (photo credit: Peter Coombs)        
       
I Love You, You’re Perfect,
      Now Change
  

Book and Lyrics by Joe DiPietro  
Music by Jimmy Roberts
Directed and Choreographed by Matt Raftery
at Marriott Theatre, Lincolnshire (map)
thru Aug 11  |  tickets: $40-$48   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

June 19, 2013 | 2 Comments More

Review: Disney’s Beauty and the Beast (Chicago Shakespeare)

Emily Rohm as Belle, Beauty and the Beast, Chicago Shakespeare       
      
Beauty and the Beast 

Alan Menken (music), Linda Woolverton (book),
     Tim Rice and Howard Ashman (lyrics),
Directed, Choreographed by Rachel Rockwell
at Chicago Shakespeare on Navy Pier (map)
thru Aug 26  |  tickets: $18-$25   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

July 9, 2012 | 1 Comment More

Review: The Pirates of Penzance (Marriott Theatre)

Omar Lopez-Cepero and Patricia Noonan. Photo Courtesy of Peter Coombs and The Marriott Theatre.       
      
The Pirates of Penzance 

Written by Gilbert and Sullivan 
Directed by Dominic Missimi  
at Marriott Theatre, Lincolnshire (map)
thru June 10  |  tickets: $41-$49   |  more info
       
Check for half-price tickets 
    
        
            Read entire review
     

April 15, 2012 | 0 Comments More

Review: Show Boat (Lyric Opera of Chicago)

A scene from Lyric Opera of Chicago's "Show Boat", directed by Francesca Zambello. (photo credit: Robert Kusel)       
      
Show Boat

By Jerome Kern and Oscar Hammerstein II 
Conducted by John DeMain
Directed by Francesca Zambello 
at Civic Opera House, 20 N. Wacker (map)
thru March 17  |  tickets: $44-$254   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

February 18, 2012 | 3 Comments More

Review: White Christmas (Marriott Theatre)

WHITE CHRISTMAS Tammy Mader, Andy Lupp, Rod Thomas, Stephanie Binetti - White Christmas       
      
Irving Berlin’s 
    White Christmas
 

Written by David Ives, Paul Blake, Irving Berlin 
Directed and Choreographed by Marc Robin 
at Marriott Theatre, Lincolnshire (map)
thru Jan 1  |  tickets: $41-$49   |  more info

Check for half-price tickets 
    
        
        Read entire review
     

November 5, 2011 | 0 Comments More

Review: For The Boys (Marriott Theatre)

     
FOR THE BOYS Michele Ragusa 1
For The Boys
 

Written by Aaron Thielen
Directed by Marc Robin
at Marriott Theatre, Lincolnshire (map)
thru Oct 16  | tickets: $41-$49  | more info

Check for half-price tickets
  
  
    Read entire review

     
August 29, 2011 | 0 Comments More

Review: Guys and Dolls (Marriott Theatre)

  
  

Holy Rollers, Batman!

  
  

Brian Hissong as Sky Masterson in Marriott Theatre's 'Guys and Dolls'

  
Marriott Theatre presents
  
Guys and Dolls
  
Written by Frank Loesser
Directed and choreographed by
Matt Raftery
at
Marriott Theatre, Lincolnshire (map)
through March 27  |  tickets: $40-$48  |  more info

Reviewed by Lawrence Bommer

Damon Runyon knew Broadway like the beat of his heart—from its sewers to its gospel missions. Those in fact are two of the exotic locales in Guys and Dolls, the always lovable, inexhaustibly right 1950 musical that Frank Loesser, Jo Swerling and Abe Burrows concocted from Runyon’s delightful short stories. Collected by Loesser in 1932, those good-hearted, slang-filled tales of Broadway sharpies, Rod Thomas as Nathan, Jessie Mueller as Adelaide in Marriott Theatre's 'Guys and Doll's'floozies, high rollers, suckers, and the frustrated reformers who tried to clean up their act are still well worth the read.

For those who don’t know this merry musical, Guys and Dolls traces the very opposite attraction of gambler Sky Masterson for Sister Sarah Brown, a naïve Salvation Army lassie: An unlikely couple, by show’s end the two feel just right together. Another off-beat romance pairs Nathan Detroit, organizer of New York’s "oldest established, permanently floating crap game," and Miss Adelaide, a dimly-lit showgirl frustratedly engaged to Nathan for 14 years, who has her famous, constant cold to show for it.

Joined by such richly-named urban denizens as Harry the Horse, Benny Southstreet, and Rusty Charlie, they all return to full and happy life in this Marriott Theatre revival. If in songs like "Sit Down, You’re Rockin’ the Boat" and the title hummer, Frank Loesser found a savvy musical equivalent to Runyon’s wonderful oddballs. Director Matt Raftery has his gritty-rich equivalents too, notably Jessie Mueller as adenoidal Adelaide ("a person could develop a cold"), a wackily evasive Rod Thomas as her hilariously allergic-to-marriage Nathan, and leather-lunged George Andrew Wolff as Nicely-Nicely Johnson, a crap shooter who improbably finds religion on a bet.

     
Rod Thomas, Bernie Yvon, George Andrew Wolff, Brian Hissong in Frank Loesser's 'Guys and Dolls' at Marriott Theatre. Rod Thomas as Nathan, Jessie Mueller as Adelaide in Frank Loesser's 'Guys and Dolls' at Marriott Theatre
Rod Thomas as Nathan, Jessie Mueller as Adelaide in Marriott Theatre's 'Guys and Dolls' Abby Mueller as Sarah, Brian Hissong as Sky in Marriott Theatre's 'Guys and Dolls'.

Abby Mueller shows why Sarah is such a rich role: In her "I’ve Never Been in Love Before" and her inebriated "If I Were a Bell" she acts her way through songs that say it all. As her gambling man with a soul to be saved, suave and handsome Brian Hissong brings to "I’ll Know" and "Luck Be A Lady" a rich, unforced baritone that’s pretty persuasive. Playing Sarah’s Samaritan/Salvation mentor, Roger Mueller makes much of his tender "More I Cannot Wish You" and John Lister brings hometown conviction to Big Julie from Chicago (apparently the only thug in New York who carries a gun).

Picturing the period perfectly, Tom Ryan’s urbane set nicely set off the fedoras and loudly colored, wide-lapeled suits that costume designer Nancy Missimi contrasts with the chorines’ pink fluffery. Combine these with this cunning cast and Raftery’s crisp and unconventional choreography and you’ve got a show to lift anyone from the winter doldrums.

  
  
Rating: ★★★★
  
  

Jessie Mueller as Adelaide, Abby Mueller as Sarah - Marriott Theatre

     
     
February 13, 2011 | 0 Comments More

REVIEW: The Music Man (Marriott Theatre)

         
        

Iowa Splendid

 

 

Bernie Yvon and Danny Coonley in The Music Man - Marriott Theatre

    
Marriott Theatre presents
   
The Music Man
   
Book/Music/Lyrics by Meredith Willson
Directed by
Gary Griffin
at
Marriott Theatre, Linconshire (map)
through Jan 9  |  tickets: $40-$48  |  more info

Reviewed by Lawrence Bommer

For reasons we can only guess at, Marriott Theatre has picked it for their holiday offering. But if ever a show spelled out summer, it’s Meredith Willson‘s 1957 masterpiece The Music Man. Throughout the rollicking story the title character exudes sunny optimism, a flimflam that "Professor" Harold Hill wants to believe as much as the suckers who take it in. His buoyant drive fits the season like a picnic. You’ll forget about the winter completely over the next 150 minutes.

Johanna McKenzie Miller and Bernie Yvon in The Music Man - Marriott TheatreOf course Hill is a 1912 confidence man who hornswaggles a ragtag band into playing music, a shy boy into speaking, a town into believing in itself and a librarian into love. The sturdy story is perfectly embedded in a very particular time capsule, with Willson meticulously employing with glorious abandon assorted slang, celebrities and colorful metaphors from the era and the state.

Helping this miracle worker Hill cast his spell, Willson gives him such powerful persuasion as "Seventy-Six Trombones" and "Trouble," the famous snake-oil sermon. By the musical’s end Hill has sold far more than he knows, a passel of dreams for River City to grow on. It’s a great formula: A mysterious stranger comes to town and changes everyone for the best, including himself when he realizes that what he gives is worth far more than what he sells.

Few shows strike such a shrewd balance between downhome decency and showbiz savvy. Because The Music Man wears its songs on its sleeve, it can’t seem too slick or smooth. What matters is the tender loving care.

The heart comes through like a charm in Marriott Theatre’s easy-winning, arena revival. Intimately homespun yet always knowing, Gary Griffin’s staging trusts the material, Willson’s fast-moving book, deceptively clever lyrics and unimprovable melodies–and gets them right throughout.

The look, for instance: Tom Ryan‘s clever, flexible and detailed set pieces combine to create a richly nostalgic Iowa setting, and Nancy Missimi’s fashionplate period costumes complete the illusion.

The human illusions are equally on target. Conning with unforced charm, Bernie Yvon offers a Harold Hill who listens as much as hoodwinks; like a good salesman he connects with the townsfolk until you see how much he means it. His charm is non-negotiable, though the changes he undergoes are a bit harder to measure under Yvon’s boundless confidence.

Barbara Cook and Shirley Jones notwithstanding (comparisons are odious), Johanna McKenzie Miller nicely inhabits Marian’s rich mix of spinster standoffishness and idealistic yearning. Her "Till There Was You" is earned by every line she’s said. (The fact that she also sounds just like Cook in her perfect prime doesn’t hurt in the least either.)

The cast of The Music Man - Marriott Theatre 2

Johnny Rabe and Danny Coonley in The Music Man - Marriott Theatre Johanna McKenzie Miller and Bernie Yvon in The Music Man - Marriott Theatre 3

Like the leads, the supporting roles betray much more life than art, even the hammy stock roles like John Reeger‘s pompous mayor, Iris Lieberman as his starched-blouse wife, Mary Ernster as Marian’s matchmaking mother and Andy Lupp as Hill’s gleeful trickster accomplice.

As the decent local kids whom Harold helps, Adrian Aguilar and Amanda Tanguay carry the romantic subplot with goofy grace. Special credit goes to little Johnny Rabe whose bashful Winthrop wails out "Gary, Indiana" as if he just made it up.

Finally, Matt Raftery‘s unshowy choreography reminds us that these are unpretentious Iowans whooping it up as best they can: There’s no showoff hoofing here. The “Shipoopi” explodes with prewar pep and a palpable joy that makes the most difficult dancing seem a gift to perform as much as perceive. David Kreppel’s musical direction is assured, especially in the barbershop-quartet offerings.

 
  
  
Rating: ★★★★
 
 

The performance schedule is Wednesdays at 1pm and 8pm, Thursday and Fridays at 8pm, Saturdays at 4:30pm and 8pm, and Sundays at 1pm and 5pm.  There will be an added performance Tuesday, 11/23 at 8pm and Friday, 11/26 at 4:30pm.  No performances Tuesday-Thursday, Nov 24th and 25th.

The cast of The Music Man - Marriott Theatre

 

 

November 16, 2010 | 0 Comments More

REVIEW: Sleeping Beauty (Marriott Theatre)

Centuries-old fairy tale energized with girl-power

 SLEEPING BEAUTY--Jessie Mueller as Princess Amber 2

Marriott Theatre presents:

 

Sleeping Beauty 

Adapted by Marc Robin
Directed and choreographed by
Matt Raftery
At
Marriott Theatre, Lincolnshire (map)
through April 25th
(more info)

reviewed by Aggie Hewitt

“Sleeping Beauty” was first published in 1697, and since then has morphed, changed, been embellished and re-interpreted in thousands of ways; both subtle and overt. Here in America, any girls born after 1959 probably know the Walt Disney version of the story the best; lovely, quiet Aurora sings and picks flowers, obeys her godmothers (without any inclination that they are, in fact, fairies  – and that she is in fact a princess), gets tricked, falls asleep, gets rescued by an equally genteel and beautiful prince and they all live happily ever after. The film is a classic, but SLEEPING BEAUTY--Jessie Mueller as Princess Amberprincesses like that don’t reign anymore. It is no longer interesting to see a heroine who goes through the story with no control over her actions, and whose main character arc is going from slumber to awake.

In Marc Robin’s new theatrical adaptation, produced by the Marriott Theater for Young Audiences, Sleeping Beauty is a tomboy: she spends her days climbing trees, dreaming of adventure and defending the bumbling dork Prince Hunter (Ryan Reilly) from fire-breathing dragons. Her dialogue is lightly peppered with girl power rhetoric: she claims that pressure for her to wear dresses is "stereotyping" and at one point accuses her Puck-like attendant (Andrew Keltz) of discrimination. These not-so-subtle aims to break down hundreds of years of gender expectations are nice to see, even if they do go over the heads of the kids in the audience and are too broad for the adults.

Sleeping Beauty has gone by many names, including Grimm’s Briar Rose and Disney’s Aurora.  Here, however, she is Princess Amber, of Colorland (played by Jessie Mueller). Colorland is a magical world where everyone has their own color that identifies them: the three fairy godmothers are Periwinkle (Heidi Kettenring), Ruby (Johanna McKenzie Miller) and Marigold (Tammy Mader), and the wicked fairy who condemns Amber to prick her finger on that fateful spinning wheel is Magenta (Susan Moniz). The three good fairies have a nice relationship, and Heidi Kettenring’s goofball performance is a standout (remarked my six year old companion, "Periwinkle was funny!"). Magenta is bad without ever being too scary. The fear factor for kids varies widely; age and sensibility are obvious factors. I brought a six year old and a nine year old who had different reactions to Magenta. The six year old was a little scared of Magenta, but managed to work through it, while the nine year old was mostly interested in her dress which was "cool." Magenta does in fact have a cool dress, designed by Nancy Missimi, but no extra baubles that would make her SLEEPING BEAUTY--Ryan Reilly as Prince Hunter, Jessie Mueller as Amberparticularly freaky to most kids – she does not sport any weird make up, wear a mask or wig, or anything out of the ordinary that would be particularly creepy.

The show is nicely paced. The whole production, including the talk back at the end, runs about 90-minutes. The top half of the show is focused on Princess Amber and her unconventional personality. The presence of Princess Amber is strongly felt, and her sleep is greatly reduced from the hundred years of most versions to an afternoon. During this time, Prince Hunter has to overcome a series of obstacles in order to save his slumbering love with a kiss. Being scared and uncoordinated, he relies both on the fairies and on the audience to help. The children in the audience are cued to shout "I’m your friend" and "You can do it!" at different times. Some kids might find this embarrassing, but it makes for a lively production. The connection between actors and audience is stronger here than in most adult theater. It comes to a quick, clean conclusion and ends on a high happy note (go figure).

SLEEPING BEAUTY--Andrew Keltz, Susan Moniz, Jessie Mueller SLEEPING BEAUTY--Tammy Mader, Johanna McKenzie Miller, Bernie Yvon, Heidi Kettenring

Sleeping Beauty ends with a question/answer talk back, introducing the audience to the actors, the stage manager, the back stage crew and the live band, which is educational and well rounded. The kids get to ask the actors questions about plot points that don’t make sense to them or special effects that seem like real magic to little eyes. The encouraging and informative nature of this talk back is the highlight of the show. Imagination and participation are strongly encouraged by the charming cast, which hosts the session.

The play, which is staged in the round, shares the lovely real wood, rustic set of Fiddler on the Roof, the evening production at the Marriott Theater for Old Audiences. The set was conceived to work with both productions, and doubles well. The natural looking set relieves some of the tension of the princess-and-fairy-run-world of Colorland and brings the production down to earth. The fire breathing dragon, who makes two appearances is constructed of three parts, operated by three different people. The three actors walk in unison, holding large wood puppets representing the three sections of the dragon’s body. The effect is nice and organic. It is also not the only shadowing of Julie Taymor-esque impressionism: a cloth mound is a mountain, a blue sheet is the sea.

The production sets its audience up to fill in the blanks with their imaginations, which proves easy for the kids.  And for adults, it’s nice to see some subtlety in children’s entertainment. Sleeping Beauty respects the intelligence of children and the sanity of adults: it’s is never over-stimulating or tacky.  The little ones in the audience don’t see the thought that went into this production, but they will enjoy it without the need for shock-value. The clarity and focus of the storytelling make Marriott Lincolnshire’s Sleeping Beauty a perfectly nice and colorful way to spend your morning with the little ones in your life.

 

Rating: ★★★

 

SLEEPING BEAUTY--Heidi Kettenring, Susan Moniz, Johanna McKenzie Miller, Tammy Mader

March 9, 2010 | 3 Comments More

Review: Marriott Theatre’s “Hairspray”

Marriott Lincolnshire brings the beat and never stops

 hairspray3

Marriott Theatre presents:

Hairspray

by Marc Shaiman, Mark O’Donnell and Thomas Meehan
directed/choreographed by Marc Robin
thru December 6th (but tickets)

reviewed by Oliver Sava

Hairspray4 The genius of Hairspray is its pulse; when the show starts moving it never slows down, a feat accomplished by the retro rock n’ roll stylings of Marc Shaiman’s music and a hilarious but socially conscious book by Mark O’Donnell and Thomas Meehan. Exquisitely directed and choreographed by Marc Robin, Marriott Lincolnshire’s Hairspray captures the limitless energy of the early 60’s with the kind of finesse that makes it all look so easy.

Not enough can be said about Robin’s creative prowess, seamlessly maneuvering his actors around the tricky stage of Marriott’s in-the-round theater. When all 29 actors in the cast perform the show’s final number to all four sides of the house, the rush is exhilarating. Of course, it helps that Robin is assisted by a cast of the city’s top musical theater talent and Chicago newcomer Marissa Perry, who comes straight from Broadway where she played the fifth and final Tracy Turnblad.

Set in 1962 Baltimore, Hairspray tells the story of spunky teenager Tracy’s mission to become a star on “The Corny Collins Show” and date hunky Link Larkin (Billy Harrigan Tighe) while overcoming her overprotective mother Edna (Ross Lehman) and the bitchy Barbie mother-daughter duo of Velma and Amber Von Tussle (Hollis Resnick, Johanna McKenzie Miller). When the dance moves Tracy learns from black classmate Seaweed J. Stubbs (Joshua Breckenridge) in detention make her Baltimore’s hottest sensation, she sets out to integrate her favorite television show with the help of best friend Penny Pingleton (Heidi Kettenring) and Seaweed’s brassy mother Motormouth Maybelle (E. Faye Butler).

Hairspray1

Perry is pitch-perfect as the show’s protagonist, and she brings an infectious energy to the stage that not only spreads to her costars, but the audience as well. When she squeaks out the first notes of the show’s opening number “Good Morning Baltimore” there is no doubt that this is a role that fits her like a glove. The powerhouse vocals and amazing comedic timing of Butler and Kettenring make their scenes with Perry crackle with energy, and watching Lehman’s Edna burst out of her shell and embrace her buxom beauty is heartwarming. Breckenridge gives Seaweed an unbridled sensuality that adds a layer of grit to his dirty dancing, (but there were moments when his vocals paled in comparison to his costars). Marriott’s Hairspray is musical theater at its finest, and should not be missed.

Rating: ««««

 

Hairspray2

October 15, 2009 | 4 Comments More