Tag: Elton John
In a theater community as diverse and talented as Chicago’s, every aspect and genre of stage productions can be found throughout the city on a given week. 2015 was no exception to this fact, as one can see from our reviewers’ picks of the year’s greatest and most memorable works.
A solid production of flawed Elton John/Tim Rice musical
|Drury Lane Theatre presents|
|Music by Elton John, Lyrics by Tim Rice
Book by Linda Woolverton, with R. Falls and D. H. Hwang
Directed and Choreographed by Jim Corti
at Drury Lane Theatre, Oakbrook Terrace (map)
through May 29 | tickets: $35-$46 | more info
Reviewed by Oliver Sava
When Egyptian captain Radames (Jared Zirilli) captures the beautiful Nubian princess Aida (Stephanie Umoh), the two fall in love despite the war between their countries, and are forced to choose between their political duties and their affections for each other. Elton John and Tim Rice adapt Verdi’s classic opera Aida through the lens of a late ‘90s Disney animated feature, candy-coating the tragic tale of two star-crossed lovers with family-friendly pop-rock that occasionally detracts from the emotional life of the story. Yet despite the musical’s problems, Jim Corti directs a sharp production with a cast of strong singers and dancers that perform the material cleanly, but could use some more passion. Using the influence of ancient Egyptian art, Corti creates images on stage through the actors posing and positioning in profile, like this painting:
While it’s a nice effect, it’s also representative of the production’s largest problem: stiffness that prevents the beauty of the music from truly taking off. The actors perform the music with precision, but there are times when it feels like they’re holding back, which could partly be because of the imbalanced musical material.
The ballads have a similar emotional resonance as John/Rice’s Lion King work, but whereas that musical has a unifying musical sound, Aida’s score essentially becomes a musical journey through the different stages of Elton John’s musical career. Tim Rice pushes the plot with his lyrics, but there are times when John’s score seems mismatched with the action on stage, mostly during the first act. The show’s fist number is sung by Amneris (Erin Mosher), the daughter of the Pharoah (Nicholas Foster) and Radames’ arranged bride, and Mosher’s powerful voice is pitch-perfect, with her dignified presence befitting the character’s initial introduction as the story’s narrator. Then the show transitions into the Rent-lite “Fortune Favors The Brave” as Ramades belts over inspirational power chords while Nubian women are pillaged in the background. It’s great music for a lease-burning, but not so much for an act of war. It gets worse when Radames’ father Zoser (Darren Matthias) reveals his plot to usurp the Pharoah’s throne in “Another Pyramid,” a groan-inducing reggae meets Tumbleweed Connection number that turns into a goofy dance fight. Thankfully, that’s the worst number in the show and happens early, but it’s also not the best way to start a musical.
As the musical progresses, it becomes clear that Elton John’s music shows the differences between Egypt in Nubia through the styling of their songs. Egyptians have the classic rock ‘n roll of John’s early years, while the Nubians utilize the gospel-tribal fusion of The Lion King, but there’s still a strong disconnect between numbers. “My Strongest Suit,” where Amneris does her best Tina Turner impression, and “The Gods Love Nubia,” a stirring tribute by a downtrodden Nubian people – they don’t sound like they belong in the same show. This is mostly a problem in the first act, and as the two groups begin to combine in act two, the music gains a stronger focus.
The two female leads both showcase stunning vocals, but while their singing is wonderfully expressive, they suffer from that aforementioned stiffness, particularly Umoh in the title role. Aida is a free spirit that has always felt confined, and she is given the opportunity to escape through song, yet Umoh is locked in place when she sings. She relies on her voice to do the heavy lifting, and despite being a powerful instrument, the image she portrays physically doesn’t match up. This prevents the chemistry between Ramades and Aida from really exploding, as Zarilli is forced to give more without ever getting much in return. The cast proves that they’re skilled performers, but there’s a lack of freedom in their technique that translates as restraint, a dangerous flaw for a show like Aida that relies on spectacle.
Despite the production’s flaws, fans of Aida will find much to love about Drury Lane’s production. The music is well performed, with crisp staging and choreography from Corti, who incorporates tribal dance into the standard Broadway footwork. Like a lost Disney cartoon put on stage, Aida lacks the gravitas of the original opera, but the crowd-pleasing score turns the tragic story into a family-friendly rock musical sure to please fans of Andrew Lloyd Webber and Stephen Schwartz.
All photos by Brett Beiner
Broadway in Chicago’s 2010/2010 season to include:
Next to Normal
9 to 5
Beauty and the Beast
October 26, 2010 – January 1, 2011
7 Fingers (Les 7 doigts de la main) is an astonishingly talented French Canadian company that has pioneered a whole new brand of theatrical entertainment, and their smash-hit production, TRACES, will launch its U.S. tour in Chicago this fall. Combining awe-inspiring acrobatic training with infectious urban energy, seven performers deliver dazzling, gravity-defying displays of skill that produce “one of the most creative and inspiring pieces of entertainment I’ve ever witnessed” (Edinburgh’s The Sun)–balancing on each other’s heads, tumbling through hoops and leaping spectacularly up giant poles without using their hands. More than just a display of acrobatic brilliance, the audience is gradually drawn into the performers’ real life stories and, by the final, dramatic climax of the show, on the edge of their seats, willing them to pull off the seemingly impossible. “Mesmeric, spontaneous and unpretentious,” ( London ’s Metro), this thrill-a-minute show will leave you begging for more.
GOD OF CARNAGE
November 30 – December 12, 2010
The son of one couple has broken two teeth of the son of another. At first diplomatic niceties are observed, but as the couples meet to resolve things, and the rum begins to flow, huge tensions emerge and the gloves come off, leaving more than just their liberal principles in tatters. Winner of the 2009 Tony® Award for Best Play and Best Director (Matthew Warchus), GOD OF CARNAGE is “the funniest play on Broadway!” raves WOR radio.
December 1, 2010 – January 23, 2011
Entertainment Weekly calls WICKED “the best musical of the decade.” WICKED, the longest-running Broadway musical in Chicago theatre history, is returning to Chicago . Winner of 26 major awards, including a Grammy and three Tony® Awards, WICKED is Broadway’s biggest blockbuster, a cultural phenomenon and was just named “the defining musical of the decade” by The New York Times. Long before that girl from Kansas arrives in Munchkinland, two girls meet in the land of Oz. One–born with emerald green skin–is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. How these two grow to become the Wicked Witch of the West and Glinda the Good makes for “the most ‘Popular’ piece of Chicago theatre in a generation” (Chris Jones, Chicago Tribune).
9 to 5: THE MUSICAL
January 18 – January 31, 2011
9 to 5: THE MUSICAL is a hilarious story of friendship and revenge in the Rolodex era. This new musical comedy, direct from Broadway, is based on the hit movie and features Dolly Parton’s original hit title song along with her new Tony® Award and Grammy nominated score. The book is by Patricia Resnick (co-writer of the original screenplay). 9 to 5: THE MUSICAL tells the story of three unlikely friends who conspire to take control of their company and learn there’s nothing they can’t do — even in a man’s world. Outrageous, thought-provoking and even a little romantic, 9 to 5: THE MUSICAL is about teaming up and taking care of business… it’s about getting credit and getting even… and it’s about to open in Chicago!
BURN THE FLOOR
February 1 – February 13, 2011
The international dance sensation BURN THE FLOOR visits Chicago direct from its record-breaking run on Broadway! You’ve seen Ballroom dance on shows like “Dancing with the Stars” and “So You Think You Can Dance.” Now, with BURN THE FLOOR, you will feel, live on stage, all the passion, the drama and the sizzling excitement of 20 gorgeous champion dancers, in a true theatrical experience, a performance with a grace and athleticism that The New York Times calls, “Dazzling!” From Harlem’s hot nights at The Savoy, where dances such as the Lindy, Foxtrot and Charleston were born, to the Latin Quarter where the Cha-Cha, Rumba and Salsa steamed up the stage, BURN THE FLOOR takes audiences on a journey through the passionate drama of dance. The elegance of the Viennese Waltz, the exuberance of the Jive, the intensity of the Paso Doble – audiences with experience them all, as well as the Tango, Samba, Mambo, Quickstep and Swing. It’s Ballroom. Reinvented.
February 2 – 27, 2011
Cameron Mackintosh presents a brand new 25th anniversary production of Boublil & Schönberg’s legendary musical, Les Miserables, with glorious new staging and spectacular re-imagined scenery inspired by the paintings of Victor Hugo. This new production has already been acclaimed by critics, fans and new audiences and is breaking box office records wherever it goes. The London Times hails the new show “a five star hit, astonishingly powerful and as good as the original.” The Western Mail says “an outstanding success.”
RAIN: A TRIBUTE TO THE BEATLES
February 8 – February 13, 2011
RAIN, the acclaimed Beatles concert, returns by popular demand, direct from Broadway! They look like them and they sound just like them! “The next best thing to seeing The Beatles,” raves the Denver Post. All the music and vocals are performed totally live! RAIN covers The Beatles from the earliest beginnings through the psychedelic late 60s and their long-haired hippie, hard-rocking rooftop days. RAIN is a multi-media, multi-dimensional experience…a fusion of historical footage and hilarious television commercials from the 1960s lights up video screens and live cameras zoom in for close-ups. “A thrilling bit of time-warping nostalgia…Boomer Heaven!” raves The Fort Worth Star-Telegram. “Uncanny! RAIN are a quartet of fine musicians in their own right…as The Beatles, they triumph!” cheers the Boston Herald. “An adoring Valentine to The Beatles,” declares the Washington Post. Sing along with your family and friends to such favorites as “Let It Be,” “Hey Jude,” “While My Guitar Gently Weeps,” “Come Together” and “Can’t Buy Me Love,” and relive Beatlemania from Ed Sullivan to Abbey Road!
February 15 – May 8, 2011
WORKING is a vital new musical based on the book by Pulitzer Prize-winning author and Chicago ’s own Studs Terkel. Newly adapted by Stephen Schwartz (WICKED, PIPPIN and GODSPELL), WORKING is the working man’s A CHORUS LINE. It is a musical exploration of people from all walks of life, with twenty-six songs by all-star composers Craig Carnelia, Micki Grant, Tony Award™ winning Lin-Manuel Miranda, Mary Rodgers, Susan Birkenhead, Stephen Schwartz and Grammy Award™ winning James Taylor. WORKING celebrates everyday people, fills you with hope and inspiration and is the perfect musical for anyone who has ever worked a day in their lives.
March 8 – 15, 2011
The Public Theater’s 2009 Tony-winning production of HAIR is an electric celebration on stage! This exuberant musical about a group of young Americans searching for peace and love in a turbulent time has struck a resonant chord with audiences young and old. Its ground breaking rock score paved the way for some of the greatest musicals of our time. HAIR features an extraordinary cast and dozens of unforgettable songs, including “Aquarius,” “Let the Sun Shine In,” “Good Morning, Starshine” and “Easy To Be Hard.” Its relevance is UNDENIABLE. Its energy is UNBRIDLED. Its truth is UNWAVERING. It’s HAIR, and IT’S TIME.
MERCHANT OF VENICE
March 15 – 27, 2011
From the acclaimed Theatre for a New Audience, the first U.S. theatre to be invited to the Royal Shakespeare Company, comes Shakespeare’s tragicomedy following command runs Off- Broadway and in Stratford-Upon-Avon . Starring Oscar winner F. Murray Abraham in his riveting portrayal of Shylock, and directed by Darko Tresnjak (former Artistic Director, Old Globe), the play has been arousing controversies for centuries with raucous and gentle comedy, tender poetry, and its struggle with mercy and justice. In this riveting update, religion, race and sexuality collide with love, family and justice and the currency of society and humanity has never been so changeable.
April 5 – 17, 2011
WISHFUL DRINKING, Carrie Fisher’s autobiographical solo show, follows Fisher’s life. Born to celebrity parents, Fisher lands among the stars when she’s picked to play a princess in a little movie called ‘Star Wars.’ But her story isn’t all sweetness and light sabers. As a single mom, she also battles addiction, depression, mental institutions, and that awful hyperspace hairdo. It’s an incredible tale–from having her father leave her mother for Elizabeth Taylor to marrying and divorcing singer/songwriter Paul Simon, from having the father of her baby leave her for a man to waking up one morning and finding a friend dead beside her in bed. Don’t miss this opportunity to see Carrie Fisher’s hit Broadway show.
NEXT TO NORMAL
April 26 – May 8, 2011
From the director of Rent comes the most talked about new show on Broadway, NEXT TO NORMAL, winner of the 2010 Pulitzer Prize for Drama and three 2009 Tony Awards including Best Score. Alice Ripley who received the 2009 Tony Award for Best Actress in a Musical, will reprise her acclaimed performance in Chicago . Having been chosen as “one of the year’s ten best” by major critics around the country, NEXT TO NORMAL is an emotional powerhouse of a musical with a thrilling contemporary score about a family trying to take care of themselves and each other. The New York Times calls NEXT TO NORMAL “a brave, breathtaking musical. A work of muscular grace and power. It is much more than a feel-good musical; it is a feel-everything musical.” Rolling Stone raves, “It is the best musical of the season – by a mile. It’ll pin you to your seat.”
Begins April 29, 2011
Broadway In Chicago and threesixty° entertainment are excited to announce a unique event – a spectacular new production of J M Barrie’s classic story, PETER PAN, at the Chicago Tribune Freedom Center. Conceived by an award-winning creative team, the SMASH HIT Peter Pan features twenty-two actors, stunning puppets, epic music and dazzling flying sequences surrounded by breathtaking video projection using the world’s first 360-degree CGI theater set. Both cast and audience fly over Edwardian London. Performed in a state-of-the-art theater pavilion, this magical new “in-the-round” production of Peter Pan is an extraordinary experience for the whole family.
May 3 – 8, 2011
The winner of 8 Tony Awards, including Best Musical – told by Duncan Sheik and Steven Sater through “The most gorgeous Broadway score this decade” (Entertainment Weekly) – SPRING AWAKENING explores the journey from adolescence to adulthood with poignancy and passion you will never forget. The landmark musical SPRING AWAKENING is an electrifying fusion of morality, sexuality and rock & roll that is exhilarating audiences across the nation like no other musical in years. Join this group of late 19th century German students on their passage, as they navigate teenage self-discovery and coming of age anxiety in a powerful celebration of youth and rebellion in the daring, remarkable SPRING AWAKENING. “Broadway may never be the same again!” NY TIMES
DISNEY’S BEAUTY AND THE BEAST
June 28 – July 10, 2011
The romantic Broadway musical for all generations, NETworks presentation of DISNEY’S BEAUTY AND THE BEAST, the smash hit Broadway musical, returns to Chicago ! Based on the Academy Award-winning animated feature film, this eye-popping spectacle has won the hearts of over 35 million people worldwide. Hailed by the Chicago Sun-Times as “warm and winning performances, a tuneful score, and real heart,” the classic musical love story is filled with unforgettable characters, lavish sets and costumes, and dazzling production numbers including “Be Our Guest” and the beloved title song. Experience the romance and enchantment of DISNEY’S BEAUTY AND THE BEAST!
Group tickets are currently available for all of the 2011 Season Series shows. Groups of 15 or more may receive a discount on most shows by calling (312) 977-1710. 2011 Season Series subscription packages will go on-sale to new subscribers on September 12, 2010. Broadway In Chicago gift certificates, which can be redeemed for any production or for season ticket packages, can be obtained at Broadway In Chicago box offices, www.BroadwayInChicago.com or by calling Ticketmaster at (800) 775-2000.
Lion King roars into Chicago
|Broadway in Chicago and Disney Theatricals present|
|The Lion King|
|Music/Lyrics by Elton John and Tim Rice
Book by Roger Allers and Irene Mecchi
Directed by Julie Taymor
at Cadillac Palace Theatre, Chicago (map)
through November 27| tickets: $25-$148 | more info
Reviewed by Barry Eitel
Not that my opinions would matter much to him, but way to go Elton John. After a storied career of penning pop music classics, he has had a major hand in crafting two of the most important musicals of the last 20 years. Lucky for us, at this moment both of the shows are currently playing in Chicago. I’ll admit, I’m still scrounging around for tickets to Billy Elliot (our review ★★★½) before the recently imposed final night (hint, hint). So I can’t really speak of its brilliance. However, due to the crates of Tonys it won, I’m going to assume it’s alright. I can speak to The Lion King, which combines John’s pop sensibilities, Disney, and the artistic madness of Julie Taymor. It is a transformative theatrical experience. As proven by the production shacking up at the Cadillac Palace, it’s a game-changing show even after the original production opened over ten years ago.
The show has visited Chicago several times, just as it has toured pretty much everywhere in the world since the late ‘90s. If you’ve seen the show before, cut me some slack because this was my first time. I do know that if you already love the beloved musical, you’ll love this production. The cast fills the house with heart, and the puppetry, massive spectacle, and thundering music are gasp-inducing. Seeing the show as a Lion King virgin, all of my issues stem from the conceptual gears driving the production.
The dialogue is more or less completely lifted from the 1994 animated feature, so there isn’t much difference between stage and screen in terms of story. The variance, as well as the magic, comes out in the execution. The original work relied on brilliant animation, classical themes of family and power, John’s ability to carve out chart-topping songs, and our perceived regality of the natural world. Apparently, when Disney first brainstormed a stage version, they were thinking of full-body, mascot-style costumes. Then came Taymor (thank god). With a resume featuring opera, training with Jacques Lecoq, and loads of experience with non-Western theatrical stylings, Taymor figured that the feline-focused franchise needed an existential reboot for the stage. The final product was an intellectually-complex puppet show that was (and continues to be) wildly popular, still selling at nearly 100% on Broadway, even after all these years.
This Chicago cast is clearly having a lot of fun with the ensemble-based show. Dionne Randolph’s Mufasa is a memorable performance, capturing all the grandeur a king of the savannah should have. J. Anthony Crane is devilishly suave as the malevolent Scar, a great foil to Mufasa’s strict views of morality. Simba, as he grows from cub to adult, is played by two actors, as well as several puppets. The youngsters (either Jemone Stephens, Jr. or Kolton Stewart, depending on the night) playing the character in the first act do a fine job, and Adam Jacobs, who takes over for the final half, embodies the youthful honesty needed for the role. My favorite part of the show was Tony Freeman’s Zazu. Your eye switches quickly from the bird puppet to Freeman as actor; both are equally expressive.
Taymor’s epic vision seems a bit disconnected at times. The overall grandeur of the production at times doesn’t quite gel with certain aspects, like the lowbrow comedy courtesy of Timon (Nick Cordileone) and Pumbaa (Ben Lipitz). The huge puppetry for the three chief hyenas, another gaggle of comic relief, comes off as overblown. The show abounds with humor (Freeman, for example), but they could marry it to the concept better. There are also some jarring aspects in the score due to John’s pop sensibilities not blending well with the African drum breaks written in by Lebo M. The transitions fail to meld the two disparate parts.
However, there are a number of moments where the amazing spectacle on-stage washes over the audience. You leave the theatre with a renewed sense of wonder. Simba’s story is relatable, but unique, and the music is terrific. All those long hours the cast and crew spent cranking out puppets and learning how to walk like a cheetah bore a creation that will be known as one of the landmark shows of our generation.
Love conquers all, even in ancient Egypt
|Bailiwick Chicago presents|
|Book by L. Woolverton, Robert Falls and D.H. Hwang
Music by Elton John, Lyrics by Tim Rice
Directed by Scott Ferguson
Music Directed by Jimmy Morehead/Robert Ollis
at American Theatre Company, 1909 W. Byron (map)
through August 1st | Tickets: $30-$45 | more info
reviewed by Katy Walsh
Egypt attacks Nubia. Women are abducted. The lead captor and enslaved princess-in-disguise share a passionate connection. Not your ordinary boy-meets-girl scenario, this musical establishes its premise from the first song, “Every Story is a Love Story.” Bailiwick Chicago presents Aida, the Tony Award winning Elton John and Tim Rice musical based on Giuseppe Verdi’s Italian opera of the same name. The Pharaoh’s daughter has been betrothed for nine years. To avoid settling down, her fiancé, Radames, has been pilfering villages along the Nile River. Everything changes when Radames imprisons Aida from Nubia. A plot to kill the Pharaoh, an uprising of Nubian slaves, the plan for a royal wedding – despite this political duress, an epic love story conquers all. An elaborate production set on a small stage, Bailiwick Chicago’s Aida triumphs simply with song, dance and a legendary love story.
In the title role, Rashada Dawan (Aida) is a regal force that commands the stage. Her physical presence is one of stately elegance. Her singing voice is a powerful authority beckoning adoration. The chemistry between Dawan and Brandon Chandler (Radames) is romantic captivation. Their duet “Elaborate Lives” elicits a combination of shivers and mistiness from any optimistic cynic in matters of the heart. Chandler’s vulnerability and Dawan’s strength are an irresistible coupling for an operatic love story. Bringing the humor to countries at war, Adrianna Parson (Amneris) plays the spoiled princess with a fashion obsession. Her ‘I am what I wear. Dress has always been my strongest suit’ attitude is flashy moxie. The contrasting styles, in dress and personality from Dawan, make Parson a standout in a supporting role. Another secondary character hitting the comedic notes is Aaron Holland (Mereb) as an enterprising slave.
With a cast of twenty on a smaller stage, some of the scenes and transitions seem clunky. It’s trying to do too much with too many. At other moments, like “God Loves Nubia”, the magnitude of the numbers add to the impressive visual and audio spectacle. The large cast also adds to some costume speed bumps. Costume Designer Rick Lurie and a group of fashion designers have gone all out with the ladies for some multiple, extravagant wardrobe changes. Splurging on intricate details for the female cast, it seems the money ran out for the men. The guys are wearing their own personal cargo pants or shorts with distracting striped cummerbunds. And it’s not the slaves that are poorly dressed, it’s the wealthy Egyptians. Despite the big cast and small space, Gary Abbott and Kevin Iega Jeff have choreographed extraordinary dance routines. Whether dancers are rowing the boat, plotting a murder or modeling the latest fashions, the movement is original, tribal and athletic.
Elton John and Tim Rice have created a memorable and poignant score for the blockbuster musical Aida. This Bailiwick Chicago production is a voluptuous woman squeezed into a size eight. She could benefit from a little more room or trimming down but she’s still beautiful!
Running Time: Two hours and thirty minutes includes a fifteen minute intermission
Three Four Words: Fanning himself with Egyptian style, Scott-dds describes the show as “powerful, memorable, extremely entertaining.”
‘Billy Elliot’ shines
|Broadway in Chicago presents|
|Billy Elliot: The Musical|
|Book and lyrics by Lee Hall, music by Elton John
Directed by Stephen Daldry
At the Ford Center for the Performing Arts, Oriental Theatre
Open run (more info)
Reviewed by Leah A. Zeldes
After four Laurence Olivier Awards, ten Tony Awards and ten Drama Desk Awards, you don’t need me to tell you that Billy Elliot: The Musical is worth seeing. Time Magazine also named it the "Best musical of the decade," an assessment I don’t agree with — my vote goes to Urinetown — but I will say Billy Elliot has everything a good musical ought to have: Fine music, outstanding choreography and a heartwarming, if clichéd, story full of triumphs and pathos.
Having opened in London in 2005 and on Broadway in 2008, the acclaimed musical has finally come to Chicago, where a stellar cast does it full justice.
Based on Lee Hall’s screenplay for the 2000 film, the plot is one we’ve seen many times before — a talented youth, dancing to his own drummer, beats the odds and makes doubters accept him on his own terms.
In this case, it’s 11-year-old Billy Elliot, son of a British miner, amid the devastating 1984 Coal War in which labor lost its fight against Margaret Thatcher’s conservative government, destroying the miners’ union and all but ending coal mining in the U.K. Billy’s mother is dead; his grandmother is senile; his dad and older brother, Tony, are on strike, along with most of the men in their town; money is short and tempers are flaring. Sent to boxing class, Billy accidentally stumbles into a girls’ ballet lesson and discovers a love and talent for dancing — outraging the men in his life.
It’s a rollercoaster of a story, full of contrasts, at turns funny and sad, raucous and refined, exultant and despondent. Politics, class consciousness, the role of the arts vs. sports, sexual identity all come together, sometimes clashingly. If the bitter defeat of the strike seems an odd match for the bright jubilation of Billy’s triumph, well … it’s a musical.
Peter Darling’s dazzling choreography makes the most of the juxtapositions, as in the brilliantly effective sequences of warring police and angry strikers interspersed with little girls in tutus.
Performed by a first-rate orchestra, led by Colin Welford, Elton John’s score, with lyrics by Hall, also brings us some startling contrasts. It runs the gamut from cheerful music-hall ditties to rousing anthems to sad ballads, from joyous to silly to angry, sometimes even in the same song. In an excellent example, one of the few solos, "We’d Go Dancing," Billy’s grandmother — a splendid performance by Cynthia Darlow — recalls her unhappy married life.
On the silly side, we get "Expressing Yourself," a strange sequence in which Billy and his transvestite friend, Michael (played alternately by Keean Johnson and Gabriel Rush), don women’s clothes and then dance with giant headless dresses.
Then there’s the pure joy of "Electricity," Billy’s paean to dancing.
A rotating cast of four boys plays Billy. On opening night, 13-year-old Cesar Corrales showed dazzling talent as a dancer and actor. A breathtaking pas de deux with his older self (onetime Joffrey dancer Samuel Pergande) deservedly drew a standing ovation on opening night.
No one in this ensemble puts a foot wrong.
This musical contains adult language some parents may consider unsuitable for children.