Tag: Metropolis Performing Arts Centre

A stockingful of holiday shows in Chicago for 2016!

 

Ariana Burks stars as Clara in The Nutcracker, House Theatre Chicago 2Jason Groff stars as Charlie Brown in A Charlie Brown Christmas, Broadway ChicagoLisa Gaye Dixon as Ghost of Christmas Present in A Christmas Carol at Goodman TheatreFrancis Guinan and Travis Turner in Twist Your Dickens or Scrooge You, Second City Goodman TheatreErica Stephan stars as Irene Roth in Crazy for You, Drury Lane TheatreJoe Foust and Larry Yando in A Christmas Carol, Goodman Theatre

The Chicago theater community will again produce a wide array of Christmas and holiday plays, musicals, ballets and comedies in 2016, all designed to put you in a festive mood.  Find the entire list of holiday offerings below

November 30, 2016 | 0 Comments More

Review: There’s a Girl in My Soup (Metropolis Performing Arts Centre)

Colin Wasmund, Shanna Brown and Russell Alan Rowe star in Metropolis Performing Arts Centre’s “There’s a Girl in My Soup,” a 1966 British farce by Terence Frisby.        
       
There’s a Girl in My Soup 

Written by Terence Frisby
Directed by David Belew  
Metropolis Arts Centre, Arlington Heights (map)
thru Feb 23  |  tickets: $40-$44   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

January 30, 2013 | 0 Comments More

Review: Sex and the Second City (Metropolis Arts)

     
medieval
Sex and the Second City
 

Directed by  BJ Jones
Metropolis Arts Center, Arlington Heights (map)
thru Sept 17  |   tickets: $28-$33  |  more info

Check for half-price tickets

       Read entire review

     
August 25, 2011 | 0 Comments More

Review: Nunsense (Metropolis Performing Arts Centre)

     
     

Old habits die hard

     
     

Nunsense2

   

Metropolis Performing Arts Centre presents

    
    

Nunsense

   
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 Nunsense3nostalgia-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.”

Nunsense4

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.

  
  
Rating: ★★★
  
  

Nunsense1

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.

     
     

May 30, 2011 | 1 Comment More

REVIEW: The Boys Next Door (Metropolis Arts)

  
  

Metropolis succeeds in shining a light on special needs

  
  

'The Boys Next Door' by Tom Griffin - Metropolis Performing Arts Centre, Arlington Heights

  
Metropolis Performing Arts Centre presents
  
The Boys Next Door
  
Written by Tom Griffin
Directed by David Belew
Metropolis Performing Arts Centre, Arlington Heights (map)
through Feb 13  |  tickets: $35-$43  |  more info

Reviewed by Allegra Gallian

Arnold has decided that he’s going to move to Russia. Barry thinks he’s a golf star. Norman can’t stop eating donuts and Lucien is concerned that they don’t have any trees. These men are all roommates and they all have special needs. They’re looked after by Jack, the caretaker who works with them. Metropolis Performing Arts Centre’s production of The Boys Next Door, tenderly written by Tom Griffin, tells the story of how these five men’s lives are interwoven and the effect each man has on the other.

'The Boys Next Door' by Tom Griffin - Metropolis Performing Arts Centre, Arlington HeightsThe set, designed by Adam L. Veness, initially consists of a typical-looking, unassuming front porch complete with shutters on the windows and a rocking chair out front. Painted a deep green, it looks inviting and charming. Once the show begins, the house opens down the middle like an oversized doll house to reveal the inside rooms, in particular the apartment the four men live in. Although moving the set piece is noisy, it’s an interesting visual to get a glimpse into the inner and outer workings of this building.

The Boys Next Door opens on the men having a typical day. Arnold (Andrew J. Pond) has been to the market and explains his trip as well as his condition as he understands it. He’s a “nervous person,” he says, and Pond is immediately charming and engaging. His characterization of Arnold is strong and humanized. Also introduced are Norman (David Elliot) and Lucien (Bear Bellinger). They are the two of the four men who live in the apartment. Both Elliot and Bellinger play their characters in a charming and lovely manner. It’s clearly evident that these actors did their research in order to learn every aspect of their characters and it comes across and genuine and believable. It’s not actors playing parts, but rather actors transforming into these new people and fully embodying these men. The fourth roommate is Barry (Adam Kander), who, like the rest, has been fully embraced and brought life. Kander carefully shows the cracks in Barry’s seemingly put together demeanor to reveal the true feelings underneath – you can’t help but feel for him.

As the men are going about their lives, Jack (Michael B. Woods), their caretaker, comes in to check on them. He is sweet and patient with these men; it’s evident he sincerely cares about them. Like the others, Woods put a lot of thought and consideration into his character. What makes him feel most genuine is the fact that he is not sugarcoated nor does Woods play him as such. Jack shows the audience all sides of his life, including the fact that he loses his temper on occasion with the men and that he is burning out in his current situation. Woods does a wonderful job of displaying the range of emotions, allowing it to feel like the audience gets a glimpse into the real life of this man.

     
'The Boys Next Door' by Tom Griffin - Metropolis Performing Arts Centre, Arlington Heights 'The Boys Next Door' by Tom Griffin - Metropolis Performing Arts Centre, Arlington Heights

Every week the men attend a dance, and it’s here where Norman meets his girlfriend Sheila (Denise Tamburrino). She’s sweet and lovely, although not as believable as the men in her characterization. Michelle Ziccarelli rounds out the main portion of the cast, playing the multiple characters of Mrs. Fremus, Mrs. Warren and Clara, distinctly defining each one.

David Belew’s adept direction keeps energy and emotion of the show moving at a quick pace.  In fact, when Act I ended I looked at my watch and was shocked at how time had flown by. Same goes for Act II. Although the ending seems a little abrupt and like the action should continue, the pace is quick and the energy stays high the whole time.

The Boys Next Door waivers on that fine line between comedy and tragedy, pulling from both to create a touching, funny, sad and wonderful portrayal of how five men live their lives and what it means to have each other in their lives. They create a genuine emotional connection with the audience that both tickles the funny bones and pulls on the heart strings. Mostly importantly, the play never mocks or pokes fun at those with special needs, but simply offers a glimpse into their lives.

  
   
Rating: ★★★½
   
  

The Boys Next Door plays at Metropolis Performing Arts Centre, 111 W. Campbell St. Arlington Heights, Ill., through February 20. Tickets are $35 to $43 and can be purchased here. Read an excerpt from The Boys Next Door.

'The Boys Next Door' by Tom Griffin - Metropolis Performing Arts Centre, Arlington Heights

     
     
January 21, 2011 | 0 Comments More

REVIEW: Holiday in the Heights Review (Second City)

  
  

Nobody’s spared in this laugh-out-loud holiday revue

  
  

Holiday in Heights cast - Second City - Metropolis Arts

   
Second City and Metropolis Performing Arts Centre presents
   
Holiday in the Heights Review
  
By various Second City ensemble members
at
Metropolis Theatre , Arlington Heights (map)
through Dec 30  |  tickets: $30-$35  |  more info

Reviewed by Allegra Gallian

Besides the usual caroling, tree-trimming and pigging-out on comfort food, ‘tis also the season for slogging through overcrowded malls, meeting new in-laws, sending out a year’s worth of cards, and driving cross-country with whiny kids.

But at Metropolis Performing Arts Centre, ‘tis also the season for Holiday in the Heights, Second City’s sketch comedy and improv holiday show. The ensemble includes Edgar Blackmon, Ross Bryant, Angela Dawe, Derek Shipman and Natalie Sullivan.

SC_Holiday_05As with most Second City reviews, Holiday in the Heights opens with a musical number. Though a bit difficult to hear, it’s quite catchy and entertaining, with the ensemble assuring us that “Christmas makes everything ok.” 

Following this ditty, the ensemble moves into a variety of sketches with various ensemble members covering topics like meeting your girlfriend’s Jewish parents, rewritten Christmas stories with political twists, visiting the in-laws you dislike, et.al.

Each ensemble member brings something unique to the stage and they all work together as a group to create hilarious parodies of holiday merriment. The two stand out performances of Act 1 include an improvised, never-been-heard Christmas story and a GPS-directed car ride.

The improvised Christmas story is based off audience participation, lending a title to the yet-to-be-created story. From there each ensemble member tells a bit of the story, building on what the others have said. Watching the ensemble instantaneously create a random story and having to continue to build on it and expand the narrative is both hilarious and amazing to watch. It’s clear that the ensemble has talent for thinking on their feet.

The GPS car ride skit tells the story of a couple driving to visit her in-laws for the holidays. The couple discusses the differences in their family’s traditions – yoga and sharing time vs. watching football and not talking to each other – and through it the GPS not only directs their route, but begins to direct their lives in hilarious and insulting ways. The great thing about this skit is that it’s relevant to the world today and also very clever and witty.

SC_Holiday_04For all that is funny about the first act, I do wish it had provided a little more to the funny bone. That being said, the second act picks up the pace and funny factor. Act 2 flows smoother and also delivers a wider variety of reasons to let out a laugh.

The highlight sketch of Act 2 is a family reading their holiday newsletter Mad Lib style, allowing audience members to fill in words with whatever they can think of. Between the audience’s word choices and the family’s story, I was laughing so hard my abs started to ache. The ensemble plays off the audience participation well and cleverly incorporates their choices into the story.

Some sketches, although entertaining, do have the potential to offend when based on politics, religion and culture. But of course this is par for the course for Second City.

Note: This show contains more than enough adult content and language to make your holiday a bawdy one. Enjoy!

   
   
Rating: ★★★
   
   

SC_Holiday_06

Holiday in the Heights plays at Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights, through December 31. Tickets cost $29.50 or $34.50 for stage table seats and can be purchased by calling 847-577-2121.

        
        
December 6, 2010 | 0 Comments More

REVIEW: Rod Blagojevich Superstar (2nd City at Metropolis)

           

Blago spoof still funny, if more painful

 

Blago2

   
The Second City presents
 
Rod Blagojevich Superstar
 
Book by Ed Furman, songs by T.J. Shanoff
Directed by Matt Hovde
Metropolis Performing Arts Centre, 111 W. Campbell, Arlington Heights (map)
Through Sept. 18  | 
Tickets: $28.50–$33.50  |  more info

Reviewed by Leah A. Zeldes

The jury’s still out on the Rod Blagojevich trial, but the verdict on Rod Blagojevich Superstar is "guilty."

No one yukking it up it in the audience at The Second City’s remount of their clever 2009 hit, now at Metropolis Performing Arts Centre in Arlington Heights, could have had any doubt that the whole silly story of our big-haired, big headed, impeached governor is all too painfully true.

Blago4 Blago and Company are much funnier than our previous crooked gubernatorial band, poor old George Ryan and his Inept GOP Grafters, who barely caught any comedy coverage at all, but their antics have been so over the top that it takes some doing to turn them into bigger buffoons than they made themselves.

The mini-musical doesn’t provide any answers to important questions like, "How come we keep electing such losers?" but confines itself to chronicling the career of the not-too-bright, Serbian-American "scrapper" from the Northwest Side who gets a party-school law degree, meets and marries the foul-mouthed daughter of a powerful Chicago alderman and rides the well-greased Illinois machine all the way to the top.

Joey Bland — in a remarkable wig — and Lori McClain ably reprise their roles as those already larger-than-life characters, Rod and Patti Blagojevich, supported by Dunbar Dicks doubling as Patti’s now-estranged dad, Ald. Dick Mell (D-33rd), and U.S. Attorney Patrick Fitzgerald; Lauren Dowden as Ill. Attorney General Lisa Madigan; and John Hildreth in a hilariously restrained take on now-Sen. Roland Burris (D-Ill.).

Even as parodies go, this is no great musical. The best song is the opening nod to "Jesus Christ Superstar," which asks, "Are you as nuts as we think you are?" Other numbers take off on tunes from such musicals as "Godspell," "Pippin" and "The Wiz," but the music just supports the japes. None of the cast are notable singers, but they belt out the lampooning lyrics clearly enough for comedy’s sake. "Pay to Play" might just as well be the official state song.

Laughable as it is to those who’ve been following along, you do need some state-of-Illinois savvy to get all the jokes. If the name "Tony Rezko" means nothing to you, you might have to do some homework before the show. On the other hand, if you’re hep to the whole Blago megillah, you’ve heard a lot of these jokes before. They’re still funny, but I can’t help but think that this revival is a bit like beating a dead donkey.

 

Blago3 Blago6

When "Superstar" premiered last year, Blagojevich himself appeared onstage to open the show. There’s just no way they can top that.

The play has not been changed to reflect any current events, so the cast has added on some post-show improv games in which the audience can ask "Rod" questions and suggest additional "crimes" he might have committed (as if 24 counts weren’t enough!). Like all such shticks, it’s only as good as the audience’s idea, which on opening night wasn’t very. Even with the extras, it’s all over in about an hour and a quarter. So much for our first Democratic governor in 30 years. You have to laugh. Or cry.

      
     
Rating: ★★★
    
    

Note: As educational as this might be for the kids, the language is extremely uncensored.

Blago5

August 17, 2010 | 1 Comment More

REVIEW: Mid-life! The Crisis Musical (Metropolis Arts Centre)

Still in need of some ‘crisis’ management

 

Productions - Mid Life - 6

  
Metropolis Performing Arts Centre presents
  
Mid-life! The Crisis Musical
 
By Bob Walton and Jim Walton
Directed by Robin M. Hughes
at MPAC, 111 W. Campbell St., Arlington Heights (map)
Through June 19 | Tickets: $35-$43 |  more info

Reviewed by Leah A. Zeldes

Hot flashes, varicose veins, dimming vision, escaping memories, philandering husbands … these are the subjects of Mid-life! The Crisis Musical, currently at Metropolis Performing Arts Centre in Arlington Heights. The opening number offers a laundry list of the pains of the 40s and 50s … and the rest of this overlong show, like middle age itself, goes downhill from there.

Productions - Mid Life - 2 Less a musical than a revue, the show quickly becomes repetitive, with the litany of the first song expanded in a series of thematic songs and skits. The humor expends itself rapidly — these are all jokes we’ve heard before. (And much of the opening-day audience at Metropolis not only lived through them but also at least a decade or two beyond.)

The funniest number, "What Did I Come In Here For?" comically details the problems of short-term memory loss. A mid-life translator interprets the frustrations of aging husbands ("I want to sleep with other women") to their weepy, menopausal wives and vice versa. "He Got What He Deserves" (a low-budget version of "Cell Block Tango" from Chicago) suggests that two-timing, middle-aged lotharios get their just rewards, a sadly untrue contention.

Some of the bits are just plain dumb, like one about a singing mammogram. "The Long Goodbye," a song about the difficulties of caring for elderly parents in senile dementia had the potential to be poignant, but the writers went for cheap laughs instead.

The cast, portraying six nameless middle-aged characters, carries through well, with good timing and fine moves, yet they can’t add much to such lightweight material. Dennis Brown‘s cockney accent seemed a bit distracting, though, and the women — Kate Brown, Elizabeth Haley and Katie Miller — all appear too young for the roles they’re supposed to be playing. Costume Designer Cathy Tantillo apparently tried to address this by putting them in frumpy knee-length khaki skirts with unattractive hem-line borders and maroon tops that emphasize bulges.

Scott Alan Emerick, 41, looks a bit on the youthful side, too, especially in a "Weekend Warriers" skit that portrays him as being the same age as the older men. Haley and David Elliott bring notable voices to their performances, but the music – peppy and uncomplicated – doesn’t give them much scope. (Hear samples on the website.)

Productions - Mid Life - 5 Robin M. Hughes uses a rear-stage video screen to introduce each number in a singularly uncreative use of high tech. The videos, mostly ugly, do nothing that wouldn’t have been more effective in live sequences … even an actor just carrying a sign across the stage.

Michael Gehmlich and Adam Veness have constructed an interesting multilevel staircase set, with two proscenium arches studded with 156 lights. It’s a pity that Christie Kerr’s uninspired choreography doesn’t make better use of it.

Getting old may be no joke, but Mid-life! The Crisis Musical won’t do much to lift your spirits.

   
   
Rating: ★★
  
  

Productions - Mid Life - 4

May 20, 2010 | 0 Comments More