Tag: Elizabeth Haley
Old habits die hard
Metropolis Performing Arts Centre presents
|Book, Music and Lyrics by Dan Goggin
Directed by David Belew
at Metropolis Performing Arts Centre, Arlington Heights (map)
through June 19 | tickets: $35-$43 | more info
Reviewed by Jason Rost and Dan Jakes
At times, it seems that contemporary nuns exist solely for the purpose of parody. Dan Goggin’s 1985 musical Nunsense, stemming from his line of nun-humored greeting cards, was revolutionary when it came onto the scene with the inappropriate light it shed on the Sisters from Hoboken. Presently, Catholics aren’t in a great place for satire. Financial trouble, dwindling numbers, lawsuits and mainstream appeasement make the once-dominant entity lean closer to the Little Man than the Oppressor. Satire, of course, is all about poking holes in austerity and knocking the Big Man of his ladder; the Church has done a fine job of that on its own. Goggin’s play is more of a nostalgia-bath than a roast, but even so, with Catholics dismissing old-school severity and hands-off ornamentation in favor of a more accessible image, jokes dependent on being silly or naughty with full-habit donned sisters just don’t have the pop they used to. Nevertheless, Metropolis’ production certainly rejuvenates the undeniable phenomenon.
The morbidly clever conceit is that 52 Sisters have died after being poisoned by the convent cook, Sister Julia Child….of God. The surviving nuns were at bingo that night and skipped out on the killer soup. In order to raise money to bury the remaining dead nuns, Sister Mary Regina (Nancy Kolton) organizes a nun-produced fundraiser talent show. The proceedings offer belting nuns, the amnesiac nuns, the cooking nuns, the nuns getting stoned, the nuns kick line-dancing, the nuns shuddering at the scandalous length of Marilyn Monroe‘s skirt, and the nuns mispronouncing pop culture references. Mere redundant gags, they aren’t. No, these are test subjects, empirical data in an unscrupulous study that combs every aspect of convent-oriented humor which lead to the likes of Sister Act and Late Nite Catechism.
When entering Metropolis’ gorgeous Arlington Heights performing arts centre, you may think you’re entering the space of ATC’s Original Grease as the scenic designer, Michael Gehmlich, has created a set that perfectly mimics an old Catholic high school gym-atorium with glittery hand painted Grease posters complimented with Jesus on the cross in stained-glass illuminated above in the rafters. Yousif Mohamed’s lighting design expertly fills the expanse of the space and the light shifts play to the comedy sharply.
Director David Belew draws crisp energetic performances from his talented cast. Kristen Gurbach Jacobson’s choreography is the perfect mix of skill, camp and parody. The multi-talented Nancy Kolton as Sister Mary Regina ultimately carries the show by investing everything into the role, including a hysterical drug trip in which she gives her whole body to. Amy Malouf (Sister Mary Robert Anne) notably ascends above the sentimentality with her spot-on Brooklyn accent and her performance of “I Just Want to Be a Star.”
The success Nunsense and its sequels have enjoyed over the past two and half decades is nothing to shake a ruler at. You might even call Goggin’s shows “Nunsations” (oh wait, he already gave sequel number six that title). After glancing around at the Metropolis audience, it was easy to see why: buried shallowly under stabs at modernization (Snooki and Donald Trump references, anyone?), this nun-humor is an excuse to reminisce. Current and recovering Catholic school alumni eat up an allusion to student-herding clickers. The rest of the proceedings are slathered in well-meaning silliness and elbow-nudging puns.
If you did happen to grow up going to Catholic school, and you haven’t experienced Nunsense, Metropolis’ production is about as fun as this show gets, so “get thee to a nun-…” well, just check out this fine revival of a silly musical sensation that seems to be sticking around at least as long as there are baby boomers still around to repent.
Performances of Nunsense continue through June 19th. Schedule varies week to week and includes evening and matinee performances. The running time is approximately 2 hours with one intermission. Tickets range $35 – 43 and can be purchased online at www.metropolisarts.com or by calling the Box Office at 847.577.2121.
‘John Doe’ Gets the Job Half Done
|Porchlight Music Theatre presents|
|Meet John Doe|
|Music/Book by Andrew Gerle
Lyrics/Book by Eddie Sugarman
Directed/Choreographed by James Beaudry
at Stage 773, 1225 W. Belmont (map)
through April 17 | tickets: $38 | more info
Reviewed by Paige Listerud
Nothing sets the tone for Porchlight Music Theatre’s Meet John Doe like its foreboding, expressionist set design (Ian Zywica). Stage right, a bold graphic sticks out from a wall of newsprint: “JOBLESS MEN KEEP MOVING–We can’t take care of our own.” Now, if that doesn’t lock and load your head for a Depression Era period piece, nothing else will. Andrew Gerle (music) and Eddie Sugarman’s (lyrics) musical follows through with ample period perfection–from driven pace, to musical style, to its tough and cocky dialogue. James Beaudry’s direction accents the production’s expressionistic edge, framing the action, whether in crowd scenes or backroom conferences, so that the show’s language hits right between the eyes about our own desperate political and economic plight. Fabricated news stories, populist heroes spun out of thin air, media manipulation of the masses by cynical moguls–and a down and out populace looking for any flicker of hope to lead them. Everything old is new again.
Porchlight could not have picked a timelier musical. In some ways, it contains improvements on Frank Capra’s 1941 film. For one, the musical’s Ann Mitchell (Elizabeth Lanza) is a much tougher, moxie-er, foxier newshound than her original film version played by Barbara Stanwyck. Given the pink slip during her newspaper’s takeover and transition to the New American Times, Ann submits her final column with a fake letter from “John Doe”—a man so sickened by the current economic downturn he threatens to commit suicide in protest by jumping off a bridge on Christmas Eve. Lanza has the voice, the sass and the legs to pull off her role and she’s not afraid to use them—a point she more than drives home with the song “I’m Your Man.”
Once circulation jumps in response to the letter, Ann restores her job by devising a whole series of columns based on John Doe. Out of a mass of jobless men, she and her world-weary editor, Connell (Jim Sherman), pick out a former bush league ball player to be their John Doe (Karl Hamilton). Hamilton definitely brings that Everyman vibe that they—and we–go for, but it’s his rich tenor voice that awakens sympathy and warmth to John Doe’s reintegration into showered, shaved and employed life once more, with “I Feel Like a Man Again.”
Unfortunately, for all the attention it has gained at Ford’s Theatre in 2007 with seven Helen Hayes nominations and with the 2006 Jonathan Larson Award, Meet John Doe still feels half finished. The first act is a beauty. Beaudry’s direction builds its tension with consummate skill and his taut cast carves its dramatic arc in expressionist stone. From the opening moments, where the terror every newsman has for his job is quite palpable – to John Doe’s escape from his first public speech – the first act is non-stop, smart and tough entertainment. In between, Lanza and Hamilton solidly sketch the growing relationship between Ann and John, while John’s hobo friend, the Colonel (Rus Rainear), adds much needed salt to the proceedings. Finally, even with a limited voice, Mick Weber gives us a smooth and seductive menace as D.B. Norton, who sits atop of his new newspaper like an American Silvio Berlusconi, ready to manipulate John Doe’s image to further his political ambitions.
It’s the second act that doesn’t know where to go with this build-up. In part, this has to do with over-reliance on Capra’s plot. In other sections, however, Gerle and Sugarman’s book diverges from it counter-intuitively. Capra himself changed the ending to his film five times before he settled on its own muddled and unsatisfactory finish. Suffice it to say that suicide, far from being painless, is actually a downer, whether for a musical’s uplifting final moments or for a real-life social movement. Therefore, John Doe’s final self-sacrificing act might make psychological sense for the character, but not for the unity of the crowd after he does it. Act Two contains choice moments, like Connell’s gorgeous reminiscence of his WWI army service with “Lighthouses” or the verbal hits John Doe delivers against Norton’s cadre of privileged, slime-ball cronies. But on the whole, it’s rewrite time once again for this plotline. Time once again for John Doe to re-create himself—let’s hope for his sake, and ours–that that he gets it right.
All photos by Johnny Knight
Sidesplitting performance worth a trip to the ’burbs
Metropolis Performing Arts Centre, Arlington Heights, presents
Out of Order
reviewed by Leah A. Zeldes
I don’t know who the first public official to be caught with his pants down was, but I wouldn’t be surprised if it happened before men even wore pants. No doubt, soon afterward, the event featured in a raft of dirty jokes. Like philandering politicians, low humor remains always with us, and sometimes even the highest minded of us can’t help laughing.
Metropolis Performing Arts Centre’s "Out of Order" is the funniest thing I’ve seen all year.
Ray Cooney‘s routine bedroom-comedy plot promises much less than this production delivers. With his wife off in the country, suave Richard Willey, a Conservative junior minister in the British government, takes advantage of an all-night parliamentary debate to spend a naughty evening with Jane Worthington, a secretary on the staff of the opposition leader. Instead, they find a dead body in their hotel suite, and Willey calls on his ingenuity and his hapless parliamentary private secretary, George Pigden, to avoid a political scandal.
With the hotel’s supercilious manager, a venal waiter, Jane’s suspicious husband, a private detective and other characters all banging in and out through the suite’s door and malfunctioning window, that’s not so easy, and the fast-talking Willey and George are pulled into an ever more elaborate set of lies and camouflages. Cooney manages to be funny without becoming lewd, which, given the premise, is quite an accomplishment, but he doesn’t stretch the boundaries of this genre.
In fact, this farce has a strong similarity to other bedroom comedies by Cooney, who is best known for "Run for Your Wife" — some of the same characters even appear in ”Two Into One.” Yet, as with the comic but repetitious plots of Thorne Smith or P.G. Wodehouse, that’s a small matter if you don’t encounter them too close together. The script provides only a modicum of the humor, anyway.
The huge hilarity of this production lies in the comic brilliance of the cast, in particular Michael B. Woods as the nebbishy George. At every turn of the plot, Woods expresses George’s appalled horror in each movement of his lanky frame and elastic, Munchlike face. The deft interplay between Woods and Andrew J. Pond’s glib, dry Willey is sidesplitting. As the tortuous plot twists its it way through abruptly disappearing corpses and unexpectedly appearing spouses, Woods just keeps getting better and better.
Sarah Tolan-Mee’s naively sexy Jane, Joe Messina‘s blustering manager and Chuck Sisson’s slow but opportunistic waiter also add notably to the impeccably timed humor. Patrick Tierney chews the scenery a bit as the rampaging Ronnie, but otherwise the cast, also featuring Amy Gorelow, Kevin Kurasch, Lisa Savegnago and Elizabeth Haley (who stood in for Nancy Kolton on opening night), never puts a foot wrong. Adam Veness’ posh hotel suite set, which includes such details as a working flat-screen TV, provides an ideal backdrop for Director David Belew’s dexterous staging.
Don’t miss this one — it’s absolutely worth a trip to the suburbs.
Notes: Adult themes and language. Metropolis Performing Arts Centre is two blocks from the Arlington Heights Metra station and free parking is available in the municipal garage behind the theater.