Tag: Patrick Tierney

Review: Bonnie & Clyde (Kokandy Productions)

Max DeTogne stars as Clyde in Bonnie & Clyde, Kokandy Productions            
      

  

Bonnie & Clyde
 
Ivan Menchell (book), Don Black (lyrics)
   and Frank Wildhorn (music)
at Theater Wit, 1229 W. Belmont (map)
thru Oct 15  |  tix: $33-$38  |  more info
       
Check for half-price tickets   
     

September 15, 2017 | 0 Comments More

Review: The Beverly Hillbillies, the Musical (Theatre at the Center)

James Harms stars as Jed Clampett in Theatre at the Center's world premiere "The Beverly Hillbillies: the Musical" by David Rogers, Amanda Rogers and Gregg Opelka, directed by David Perkovich. (photo credit: Michael Brosilow)        
      
The Beverly Hillbillies: 
    the Musical

Book by David Rogers and Amanda Rogers
Music and Lyrics by Gregg Opelka
Directed by David Perkovich  
at Theatre at the Center, Munster, IN (map)
thru Aug 10  |  tickets: $40-$44   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

August 3, 2014 | 0 Comments More

Review: The 25th Annual Putnam County Spelling Bee (Theatre at the Center)

Frank Paul stars as Chip Berkowitzin in Theatre at the Center's "The 25th Annual Putnam County Spelling Bee" by William Finn and Rachel Sheinkin, directed by David Perkovich. (photo credit: Michael Brosilow)        
       
The 25th Annual
   Putnam County Spelling Bee
 

Music and Lyrics by William Finn
Book by Rachel Sheinkin
Directed by David Perkovich
Theatre at the Center, Munster, IN (map)
thru Aug 18  |  tickets: $38-$42   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

August 2, 2013 | 0 Comments More

Review: Oliver! (Drury Lane Theatre)

Brady Tutton stars as Oliver in Drury Lane Theatre's "Oliver!" by Lionel Bart, directed by Rachel Rockwell. (photo credit: Brett Beiner)        
       
Oliver! 

Book, music and lyrics by Lionel Bart  
Directed by Rachel Rockwell
Drury Lane Theatre, Oak Brook Terrace (map)
thru June 2  |  tickets: $35-$49   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

April 13, 2013 | 3 Comments More

Review: Music from a Sparkling Planet (Eclectic Theatre)

Lisa Savegnago as Tamara Tomorrow in Eclectic Theatre's "Music from a Sparkling Planet" by Douglas Carter Beane, directed by David Belew.       
      
Music from a Sparkling Planet 

Written by Douglas Carter Beane
Directed by David Belew
at Athenaeum Theatre, 2936 N. Southport (map)
thru Nov 18  |  tickets: $22-$27   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

November 14, 2012 | 0 Comments More

Review: Camelot (Light Opera Works)

Nick Sandys as Arthur in "Camelot" at Light Opera Works.       
      
Camelot 

By Alan Jay Lerner (book and lyrics)
       and Frederick Loewe (music) 
Directed by Rudy Hogenmiller  
at Cahn Auditorium, Evanston (map)
thru June 10  |  tickets: $32-$92   |  more info
       
Check for half-price tickets 
    
        
           Read entire review
     

June 5, 2012 | 0 Comments More

Review: A Little Night Music (Circle Theatre)

  
  

An impressive revival of Sondheim’s sex comedy classic

  
  

A Little Night Music cast - Circle Theatre Oak Park

  
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.

Jeremy Rill (Carl-Magnus) and Deanna Boyd (Charlotte)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.

     
Patrick Tierney as Henrik in Stephen Sondheim's "A Little Night Music" at Circle Theatre. Khaki Pixley as Petra in Stephen Sondheim's "A Little Night Music"
Stephanie Stockstill (Anne) and Deanna Boyd (Charlotte) in Stephen Sondheim's "A Little Night Music" at Circle Theatre. Anita Hoffman (Desirée) and Jeremy W. Rill (Carl-Magnus) in Stephen Sondheim's "A Little Night Music" at Circle Theatre in Oak Park.
   

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 Alicia Hurtado (Fredrika) and Patti Roeder (Madame Armfeldt) in Stephen Sondheim's "A Little Night Music", now at Circle Theatre in Oak Park.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.

  
  
Rating: ★★★
  
  

Kirk Swenk as Frederik and Jeremy W. Rill as Carl-Magnus in Circle Theatre's "A Little Night Music" by Stephen Sondheim

All images by Bob Knuth.

     
May 1, 2011 | 0 Comments More

REVIEW: Hello Dolly (Light Opera Works)

     
     

Phenomenal dancing and singing makes ‘Dolly’ a New Year’s treat 

     
     

Mary Robin Roth (Dolly Gallagher Levi) in Hello Dolly – Light Opera Works. Photo Credit: Rich Foreman

    
Light Opera Works presents
   
   
Hello, Dolly! 
       
Book by Michael Stewart
Music/Lyrics by
Jerry Herman
Directed by
Rudy Hogenmiller
at
Cahn Auditorium, 600 Emerson, Evanston (map)
through Jan 1  |  tickets: $32-$92   |  more info

Reviewed by Katy Walsh

“Some people paint, I meddle.”  A widow makes a living as a matchmaker.   Light Opera Works presents Jerry Herman’s Hello, Dolly!, a big-hearted musical based on Thornton Wilder’s play The Matchmaker, set in 1890.

Before the parade passes by, I want to get in step while there’s still time left.” Dolly Levi wants to start living.

Dolly’s retirement plan is to marry the well-known half-millionaire, Horace Vandergelder.  Because Dolly is very good at her job, Horace IS ready to marry… Irene Malloy. Before Horace can pop the question to Irene, Dolly must strike the match.  It’s a hilarious intervention as Dolly rearranges multiple lives to marry off herself.    Hello, Dolly! is a witty, musical frolic wedded to the courtship dance.

You’re looking swell Dolly.  I can tell Dolly. You’re still glowin’, you’re still crowin’, you’re still goin’ strong. 

Mary Robin Roth (Dolly Gallagher Levi), Peter Verdico (Horace Vandergelder) star in Hello Dolly - Light Opera Works  Photo Credit: Rich ForemanMary Robin Roth (Dolly) has flawless comedic timing.  Roth delivers zesty lines with a side of slapstick, and has all the personality to anchor the show in the title role.  The musical orchestration has been adjusted for Roth’s limited singing range; her lower vocal style is robust but in moments awkward.  In solo numbers, it’s a unique rendition, but when she joins in on a brightly sung ‘Put on Your Sunday Clothes,’ Roth creates a bit of speed bump.

The best match of the show is the chemistry between Robert Brady (Cornelius) and Patrick Tierney (Barnaby).  The dynamic duo sing, dance and lampoon with charm and amusing absurdity.   Although Jessye Wright (Irene) has a beautifully operatic singing voice, it’s too serious for the light-hearted romp.  It really only works as the parody line Wright sings in ‘Elegance’ to make fun of the sophisticated.

A 22-piece orchestra, conducted by Roger L. Bingaman, sets the tempo for a splendid full-bodied musical chorus.

‘Don’t you think my dancing has a polish and a flare?  The word I think I’d use is athletic!’

The dancing IS athletic and amazing!   Rudy Hogenmiller channels Gower Champion to choreograph dance sequences that elicit applause DURING the movement.  In particular, two memorable moments are actualized by a large segment of the chorus.  First, in the parade scene, the band moves into a revolving kick line.  For a small stage and multiple dancers, the graceful high-kick turning is incredibly impressive.  In the second act, the waiters have a vigorous prolonged dance sequence.  The word I think I’d use is ‘phenomenal.’    The synchronization is perfection.  The waiters’ jumps are a harmonious spectacle.

Despite promises that ‘Dolly’ll never go away again,’ it’ll be “Goodbye, Dolly!” in a week.    So, here’s your goal again,  get in drive again, if you wanna feel your heart coming alive again… get your tickets now… before the parade, and the full orchestra, passes by!

  
   
Rating: ★★★½
 
   

Hello, Dolly! continues performances on December 27th, 29th, January 2nd at 2pm;
December 28th at 7pm; December 30th, 31st, January 1st at 8pm. All photos by Rich Foreman.

Running Time:  Two hours and thirty-five minutes includes an intermission.

Robert Brady (Cornelius Hackl), Patrick Tierney (Barnaby Tucker), star in Light Opera Works’ HELLO, DOLLY!, December 26, 2010- January 2, 2011 at the Cahn Auditorium in Evanston, IL. Photo Credit: Rich Foreman

    
     

     
     

December 27, 2010 | 1 Comment More