Tag: Robin M. Hughes

Review: Sea Marks (Metropolis Performing Arts Centre)

Eamonn McDonagh and Robin M. Hughes star in Metropolis Performing Arts Centre's "Sea Marks" by Gardner McKay.        
        
   
Sea Marks
 

Written by Gardner McKay
Metropolis Arts Centre, Arlington Heights (map) 
thru Oct 24  |  tickets: $25   |  more info
       
Check for half-price tickets 
    
        
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October 6, 2012 | 0 Comments More

Review: The Complete History of America, Abridged (Metropolis Arts)

Complete History of America - Metropolis_0011       
      
Complete History of America
    (Abridged)
 

By Adam Long, Reed Martin & Austin Tichenor
Directed by David Belew
Metropolis Arts Centre, Arlington Heights (map)
thru Feb 12  |  tickets: $39-$43   |  more info
       
Check for half-price tickets   
         
        Read entire review
     

February 6, 2012 | 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.”

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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: ★★★
  
  

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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 Butler Didn’t! (Metropolis Performing Arts)

     
     

Jewel heist hits familiar farce notes

     
     

'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights

   
Metropolis Performing Arts Centre presents
   
The Butler Didn’t!
   
Written by Scott Woldman
Directed by Brad Dunn
at Metropolis Arts Centre, Arlington Heights (map)
through April 17  |  tickets: $35-$43  |  more info

Reviewed by Dan Jakes

For anyone who doesn’t look closely at the Metropolis Performing Arts Centre’s promotional materials for its new comedy The Butler Didn’t!, it would be easy to miss that key little word: “new.”

It isn’t. Resident playwright Scott Woldman’s mansion-crime-caper is a venerable checklist for a theatrical form that’s seen its heyday come and go, unabashedly marking off the requisite +5 doors, spastic pace, ‘uh-oh’ twists, and ludicrous premise. Expectedly, the women are sex-obsessed, the men are idiots, and the title-butler is a combination of both. Splash in a little of Neil Simon and a bit of Moliere’s The Imaginary Invalid, and you have a sense of the universe where con-artist and faux-Brit butler Rick resides.

'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington HeightsThat’s not necessarily a bad thing. Woldman’s play admittedly doesn’t do much to forward farcical conventions; at times, the lack of audacity is frustrating–it feels like some of the stones laid by the show’s nontraditional darker tone are left unturned–but as it stands, his comedy is fit to sit comfortably alongside more recognizable staples.

Rick (Michael B. Woods), alongside his wise-cracking, why-does-the-Hispanic-always-have-to-be-the-landscaper side-kick Ernesto (Richard Perez), is in the final phase of his Job to End All Jobs at the Podmore estate. With his billionaire boss (David Belew, capable, albeit a little young) asleep upstairs, Rick and Ernesto take a crack at the safe, before (of course) all hell breaks loose. Lies cover lies, mischief proceeds mischief, and innuendo occurs just about everywhere else.

Situational comedy is usually dependent on characters’ perception of high stakes in low-stakes circumstances, a discrepancy only seen by the audience. Suspension of disbelief is mandatory when viewing anything that aims for ‘wacky,’ and The Butler Didn’t! sacrifices some of those required stakes by asking for more than its fair share. Say, when Mr. Podmore’s lawyer, Anna (Elizabeth Dowling) goes gaga at the sight of Ernesto, it’s challenging to stay invested. One second she’s a menacing professional capable of shutting down the entire operation; the next, she’s nearly orgasming in her pant suit. In farce, tinkering too much with plausibility downgrades the humor, an offense both Woldman and director Brad Dunn commit.

     
'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights 'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights

The silliness is so-so, and like most farces, it could shave off half an hour. When the Metropolis allows itself to push the envelope a bit, however, the true potential of The Butler Didn’t!’ emerges. At the performance I attended, the audience was more receptive to riskier jokes. Perhaps the Metropolis doesn’t want to offend the sensibilities of its ticket holders. Restraint is admirable; big scores require going all in.

  
  
Rating: ★★½
  
  

'The Butler Didn't!' by Scott Woldman - Metropolis Performing Arts Centre, Arlington Heights

     
     
April 14, 2011 | 0 Comments 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: 25th Annual Spelling Bee (Metropolis Arts)

 

Who knew spelling could be so much fun?

 

Productions - Spelling Bee - 02

   
Metropolis Performing Arts Centre presents
   
The 25th-Annual Putnam County Spelling Bee
   
Music/Lyrics by William Finn 
Book by
Rachel Sheinkin
Directed by
Robin M. Hughes
Metropolis Arts Centre, 111 W. Campbell, Arlington Heights
through November 6  | 
tickets: $35-$43   |  more info

Reviewed by Allegra Gallian 

For children who enjoy spelling, a spelling bee is to them as football or baseball is to children who enjoy sports. In Metropolis Performing Arts Center’s production of The 25th Annual Putnam Spelling Bee, based on the original play C-R-E-P-U-S-C-U-L-E by The Farm, children of various backgrounds and school districts to come together for one goal: to win the bee and move on to nationals in Washington D.C.

Productions - Spelling Bee - 29 The set, designed by Adam L. Veness, boosts clean, simple lines and looks high quality and authentic. The stage is transformed into a school gym complete with basketball court, bleachers and a climbing rope. School colors are yellow and purple, reflected in the lighting by Yousif Mohamed, which adds depth to the set.

The 25th Annual Putnam Spelling Bee opens strong, with the entire cast exuding energy right from the start. Each character brings their own strength to the stage with a catchy and upbeat opening number. This play also calls for audience interaction, which not only bring the audience into the story, but also allows for audience members to experience what it’s like to be on the opposite end of theatre. All the audience members who participated did a good job and added some extra laughs to this already funny show.

As the Bee begins, it becomes clear that each actor worked hard to develop a unique characterization. Logainne Schwartzandgrubernierre (Justine Klein) is sweetly adorable with her lisp. As the show goes on, it becomes clear that under that demeanor is a lot of pressure and expectation to live up to. Klein does an excellent job of rounding out her character and providing multiple layers to keep her character from falling flat. Olive Ostrovsky (Kristine Burdi) has a wonderful childlike innocence and she’s so eager to participate. Burdi has a rockin’ voice that’s on full display in “The I Love You Song,” which also allows her to show the pain Olive is in beneath her cheerful front.

As the Bee goes on, the students prove to be terrific spellers, spelling a random selection of words, as they offer glimpses into their personal lives. Returning Bee champ Chip Tolentino (Ryan Hunt) gets knocked off his horse when a crush on a girl deters his mind and he misspells a word, disqualifying him from nationals. Hunt offers up strong, stellar vocals and is hilarious as he sings about the troubles of teenage boys and puberty in “Chip’s Lament.” Leaf Coneybear (Patrick Tierney) tells about his large family and where he fits in their grand scheme of things in “I’m Not That Smart.” Tierney clearly explored his character’s background and motivations, which come through in his performance. He’s fascinatingly endearing as we witness his winning spelling technique: he falls into a trance, and the letters just come. James Nedrud is spot on with know-it-all William Barfee. Nedrud plays his character acting older than he is and trying to be very serious, which is just hilarious.

 

Productions - Spelling Bee - 26 Productions - Spelling Bee - 04

Throughout The 25th Annual Putnam Spelling Bee, the entire cast keeps up their energy level, keeping the show running smoothly along and the audience engaged. The musical numbers are high energy and feature excellent choreography by Kristen Gurbach Jacobson. What is most impressive is that the singing never suffers during the dancing. The actors are able to continue singing strongly and passionately as they dance around the stage. At a few points the singing fell out of tune, but it never took away from the enthusiasm and enjoyment of the show.

The 25th Annual Putnam Spelling Bee is a children’s show for adults that leaves the audience laughing as they cheer on the Bee contestants.

   
   
Rating: ★★★½
  
  

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The 25th Annual Putnam Spelling Bee plays at Metropolis Performing Arts Center, 111 W. Campbell St., Arlington Heights, IL, through November 6. Tickets cost $35 to $43 can be purchased through the theatre’s Web site.

     
     
September 29, 2010 | 0 Comments 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