Tag: Kirk Swenk
Music and Lyrics by Richard Adler, Jerry Ross
An impressive revival of Sondheim’s sex comedy classic
|Circle Theatre presents|
|A Little Night Music|
|Music/Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Directed by Bob Knuth
at Circle Theatre, Oak Park (map)
through June 5 | tickets: $22-$26 | more info
Reviewed by Oliver Sava
Stephen Sondheim’s musicals often contain an element of nostalgic regret, focusing on characters that look back on their muddled pasts in hopes of achieving, as A Little Night Music’s Desirée Armfeldt (Anita Hoffman) says, “A coherent future.” The aging artists of Follies, the fairy tales of Into The Woods, Sweeney Todd’s titular anti-hero – these are just a few of the composer’s characters that are faced with the consequences time brings, and A Little Night Music is one of the most chronology-focused musicals in Sondheim’s canon. Key words like “now,” “soon,” “later,” and “meanwhile” are repeated to emphasize the passage of time, unified by the inquisitive “remember” that sparks the characters’ trips down memory lane. The past, present, and future intersect in a delicate waltz, and Sondheim writes most of the show’s music in ¾ time, overlapping the melodic themes with his signature complexity and precision.
Bob Knuth’s staging is similar to Trevor Nunn’s recent Broadway revival, with a similarly clean, white-washed set design also from Knuth, and the production’s technical aspects have a similar level of polish. Elizabeth Powell Wislar’s costume design is particularly stunning, and these characters are dressed with the level of elegance and sophistication worthy of their status. Knuth assembles a cast that handles the difficult music especially well, layering the moving voice parts with a great sense of timing, and crisp articulation that is much appreciated during intense numbers like “Weekend in the Country” where multiple parts are being sung simultaneously. Desirée’s five actor companions serve as an observing chorus, and they begin the show with an overture that establishes the melodies that will be revisited throughout the show. In the temporal context of the show, the overture becomes more than just a collection of the show’s most memorable tunes, but rather plants seeds that will later be cultivated by the other actors in the ensemble.
This is a musical about relations – husbands and wives, parents and children, the young and the old – and despite the occasional instance of overacting, Knuth’s cast succeeds in building the character connections that are elevated by Sondheim’s rich music. Hoffman anchors the production with her captivating portrayal of Desirée, capturing the weariness that comes with the touring life and the desire to finally obtain a life of stability with her daughter Fredrika (Alicia Hurtado). When she reunites with her past lover Fredrik Egerman (Kirk Swenk), she sees an opportunity to finally have the life she dreams of, but Fredrik’s eighteen-year-old wife Anne (Stephanie Stockstill) stands in their way. Matters are further complicated by Desirée’s preexisting affair with an insanely jealous dragoon Count Carl-Magnus Malcolm (Jeremy W. Rill), whose destitute wife Charlotte (Deanna Boyd) tells Anne about Desirée’s affairs with both their husbands.
As Desirée’s partners, Swenk and Rill both showcase strong vocals, and there’s a clear contrast in their affection for Ms. Armfeldt. Fredrick genuinely longs for her on an emotional, whereas Malcolm desires her on a solely sexual level, and Rill gives Malcolm an exaggerated arrogance that works for the character, especially with his powerful singing. As his wife Charlotte, Boyd gives the character an appropriately dreary disposition, but she becomes too much of a caricature when her character breaks out of her depression. Stockstill’s Anne is delightfully naïve at the start of the show, still a child despite having been married for eleven months. The adorable flirtation between Anne and her step-son Henrik (Patrick Tierney) shows how innocent she is in comparison to women like the Egermans’ amorous maid Petra (Khaki Pixley), depicting an Anne who is anxious to explore her sexuality but not with her own aging husband.
Stockstill has a beautiful singing voice, and her duet with Boyd, “Everyday A Little Death” is a heartbreaking revelation that underneath the sexual comedy these are people in pain. Henrik is the play’s bleakest character, and Tierney does admirable work balancing the character’s jaded opinion of the world with a desire to find the kind of the love that he so publicly renounces. Tierney, along with Rill, has some of the most difficult music in the show, and while there are times that he could use some more support to stay on key, he does strong work with difficult material.
Fredrika and her grandmother Madame Armfeldt (Patti Roeder) represent the two ends of the time spectrum, as Madame lives in the past, while Fredrika is constantly looking toward the future. Roeder’s solo “Liaisons” could be considered the play’s theme, a meditation on how the affairs of her past have been grow more beautiful with age while the longing to return to them grows more painful. At the end of the play, Madame Armfeldt regrets turning away one of her lovers for giving her a wooden ring, lamenting the lost opportunity for true love. Desirée has a similar epiphany in “Send in the Clowns,” impeccably performed by Hoffman, where she finally exposes her true feelings to Fredrik before time passes them by again. After spending the play trying to recapture the past as a way to fix the present, she takes the leap into a future with Fredrik. When his responsibilities to Anne prevent him from jumping with her, Desirée ends the song with a defeated yet optimistic, “Maybe next year.” Time passes and things change. Things grow with time and they die with time. But perhaps the greatest power of time is the hope that the future brings, healing the wounds of the past and making the present an easier place to live.
All images by Bob Knuth.
The Taming of Cole Porter
|Circle Theatre presents|
|Kiss Me, Kate|
|Written by Cole Porter and Bella Spewack
Directed by Bob Knuth
at Circle Theatre, 1010 W. Madison, Oak Park (map)
through Jan 30 | tickets: $22-$26 | more info
Reviewed by Lawrence Bommer
What you want with this musical revival is to hear a giant click, the sound of everything going right in Circle Theatre’s hoped-for perfect revival of Cole Porter’s musical-within-a-musical. For director and set designer Bob Knuth what’s already perfect is a sparkling script depicting the behind-the-scenes shenanigans of temperamental thespians. Modeled on the ever-excitable thespian duo of Alfred Lunt and Lynne Fontanne (a fairy tale marriage in every way), hellion Lili and egomaniac Fred enact a life-imitates-art parallel to the quarreling lovers they croon in a Baltimore performance of “The Taming of the Shrew.” More than before, relocated to Oak Park, Circle Theatre now has a stage wide enough to embrace all of Kevin Bellie’s cinemascopic dance routines, which in their previous Forest Park digs five blocks west on Madison Street threatened to burst at the seams.
If a spinoff can improve on its source, this toxically witty 1948 gem, which restored Cole Porter to Broadway glory after a disappointing ten-year dry spell, betters the Bard. Both a hymn to the neuroses that nurture showbiz eccentricities and extremes, it’s also a witty sendup of the perils that follow when narcissistic Broadway stars perform in private as much as under the lights. For these stagestruck souls the sound of no one applauding during their domestic quarrels must be maddening. Never has a show, backstage and centerstage, had more reason to go on.
Crafting many moments to the max, Knuth transforms Porter’s gift into a promising assemblage of perfectly timed verbal and physical comedy, sometimes superior singing, contagious dancing, dazzling costumes, period-perfect wigs, and serviceable sets. But the hard work of the 23 eager-beaver performers is critically undermined by Carolyn Brady Riley’s heavy-handed musical direction: The culprit here is the (minimal for Cole Porter) four-person band who perversely seem to make up for their small number by playing too loud throughout (a vice that’s also afflicted past Circle Theatre shows). Accompaniment does not mean overkill. No one wants these singers to use mikes but on opening night they were more than challenged to sing and speak out these brilliant Porter lyrics and, because the orchestra wouldn’t let them, a lot of laughs died along with the words. Adding mikes would only escalate the screamfest. The solution is the taming of this band.
Everything hinges on the chemistry between the tamer and the shrew: Jennie Sophia’s Lili (who reminds us of the young Patti Lupone) isn’t just the spitfire diva who craves to be domesticated; she delivers the dreamer (“So in Love”), desperate for the right excuse to stop fighting love. Equally commanding as Petruchio or his hammy self, Andy Baldeschwiler’s Fred never drops a joke in his patter numbers (“Where Is The Life That Late I Led?”), except when the orchestra drowns him out. At least he gets to register the sheer joy of singing “Wunderbar” every night. But, given a hostile accompaniment, he strains more than he should to unevenly deliver songs that should sound as effortless as they were composed 62 years ago.
Rachel Quinn and Wes Drummond couldn’t be sweeter second bananas, as venal Lois Lane and trusting Bill Calhoun wonder “Why Can’t You Behave?” A crowd-pleasing, vaudevillian sensation, John Roeder and Tommy Bullington are the vaudevillian gangsters whose “Brush Up Your Shakespeare” is as funny as you can get without asphyxiating an audience on their own laughs.
But the signature triumph belongs to the hard-hoofing, all-crooning chorus, whose Lindy-hopping, jitterbugging dances look totally authentic and still seem improvised on the spot. If only the orchestra could have brought out all the sensuous sounds that Porter intended for songs that can be treasured and never bettered.
small BIG thrill
|Circle Theatre presents|
|The Best Little Whorehouse in Texas|
|Book by Larry L. King and Peter Masterson
Music/Lyrics by Carol Hall
Directed and choreographed by Kevin Bellie
Music Direction and new arrangements by Josh Walker
Circle Theatre, 7300 Madison, Forest Park (map)
Thru June 20th (more info)
Reviewed by Katy Walsh
Whores, hookers, ladies of the evening, oh my! – prostitution is the oldest profession in the world and perhaps the most misunderstood. Circle Theatre presents The Best Little Whorehouse in Texas, a musical exposing the softer side of the sex trade industry. Based on a true story, a Texas amusement institution has provided adult entertainment over the centuries. During the depression era, pleasure seekers paid for thrills with poultry which led to the nickname, “chicken ranch.” The kind-hearted madam, Miss Mona, operates a clean business focused on guest satisfaction. Her well-known establishment has the endorsement and protection of the local sheriff. All that changes, when a television reporter crusades to shut it down. The Best Little Whorehouse in Texas isn’t your street corner hooker production, however. It’s your high class call girl with impressive moves and a revolving wardrobe ensuring your fantasy investment reaps multiple benefits.
This show is all about the show. Twenty-five cast members with multiple costume and wig changes dress up this non-stop energetic production. Under the direction and choreography of Kevin Bellie, musical numbers are a visual spectacle. Bellie chooses to make The Best Little Whorehouse in Texas a love affair instead of a “quickie.” Hookers to TV back-up singers to cheerleaders to reporters, Bellie uses a large number of the chorus in every scene. This choice adds dimensionality to the depth of the songs and dances. Going “Texas-style big” aids a few sound issues. For some of the solo singing moments, it’s hard to hear the lines. During “Little Bitty Pissant Country Place,” there is an awkward duet between Miss Mona and a guy in the band. Cue the chorus! When the whores chime in, the harmony is ecstasy. Whether it’s singing or dancing, the ensemble uses its size to go deeper. The synchronization of the large number of dancers on a small stage kicks it up to the “wow” factor. “The Aggie Song”, in particular, is sexy country-line dancing with an athletic vigor. It’s Dirty Dancing taken to a whole new level!
Along with the huge and talented chorus, principal players add to the entertainment value. Every hooker should be lucky to have a boss like Miss Mona (Anita Hoffman). Balancing maternal urges in a cheeky business, Hoffman commands the stage with a combo of sexy playfulness and compassionate wisdom. Not quite meshing into the frothy ensemble, Toni Lynice Fountain (Jewel) shines with a soulful rendition of the song “24 Hours of Lovin”. Noah Sullivan (Sheriff Earl Dodd) delivers his irreverent lines with hilarious force. ‘If that three foot man comes back, I’m going to flatten him so he has to roll down his socks to shit.’ Michael A. Gravame (Melvin P. Thorpe) is a smarmy dolt mugging the comedic moment. The issue side-stepping politician, Kirk Swenk (Governor) makes a small part memorably funny. The entire cast whores itself out for the audience’s pleasure.
The extraordinary spectrum of costumes (Jesus Perez) and wigs (Michael Buonincontro) are a 70’s flashback of afro, peasant blouses, and Frederick’s of Hollywood fun. Costumes, cast, choreography; all the lubricated participants make this group orgy a love fest!
Showtimes: Fridays & Saturdays @ 8:00 pm, Sundays @ 3:00 pm (buy tickets). Group Rates for 10 or More Available. Call 708-771-0700 for more info.
Running Time: Two hours and twenty minutes includes a ten minute intermission.