Tag: Tom Watson

Review: The King and I (Broadway in Chicago)

Jose Llana and Laura Michelle Kelly star as The King and Anna in The King and I, Broadway Chicago             

   

The King and I
    
By Richard Rodgers (music),
  Oscar Hammerstein II (lyrics, co-author)   
at Oriental Theatre, 24 W. Randolph (map)
thru July 9  |  tix: $20-$90  |  more info
       
Check for half-price tickets   
     

June 29, 2017 | 0 Comments More

Review: Wicked (Broadway in Chicago)

Jenn Gambatese and Alison Luff star as Glinda and Elphaba in Broadway in Chicago's "Wicked" by Stephen Schwartz and Winnie Holzman, directed by Joe Mantello. (photo credit: Joan Marcus)       
      
Wicked

Music and Lyrics by Stephen Schwartz 
Book by Winnie Holzman
Directed by Joe Mantello
at Oriental Theatre, 24 W. Randolph (map)
thru Dec 21  |  tickets: $40-$107   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

November 12, 2013 | 1 Comment More

Review: Rock of Ages (Broadway Playhouse)

Dominique Scott and the cast of Broadway in Chicago's "Rock of Ages", created by Chris d'Arienzo.  (photo credit: Scott Suchman)       
      
Rock of Ages 

Book by Chris D’Arienzo
Music by every 80’s rock band imaginable    
Directed by Kristin Hanggi 
Broadway Playhouse, 175 E. Chestnut (map)
thru Aug 5  |  tickets: $70-$80   |  more info
       
Check for half-price tickets 
    
        
           Read entire review
     

June 7, 2012 | 0 Comments More

Review: The Addams Family (Broadway in Chicago)

Douglas Sills (Gomez) and Sara Gettelfinger (Morticia) in THE ADDAMS FAMILY.       
      
The Addams Family 

Book by Marshall Brickman, Rick Elice
Music and Lyrics by Andrew Lippa
Directed by Julian Crouch & Phelim McDermott
Cadillac Palace Theatre, 151 W. Randolph (map)
thru Jan 1  |  tickets: $37-$100   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

December 28, 2011 | 0 Comments More

Review: A Christmas Story the Musical! (Chicago Theatre)

Clarke Hallum as Ralphie Parker - A Christmas Story       
      
A Christmas Story 

Book by Joseph Robinette  
Music/Lyrics by Benj Pasek and Justin Paul
Directed by John Rando
at The Chicago Theatre, 175 N. State (map)
thru Dec 30  |  tickets: $35-$79   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

December 15, 2011 | 0 Comments More

Review: Rock of Ages (Broadway in Chicago)

Rock of Ages cast       
      
Rock of Ages 

Written by Chris D’Arienzo
Directed by Kristin Hanggi
at Oriental Theatre, 24 W. Randolph (map)
thru Nov 13  |  tickets: $18-$90   |  more info

Check for half-price tickets 
    
        
        Read entire review
     

November 9, 2011 | 0 Comments More

REVIEW: Wicked (Broadway in Chicago)

     
     

WFF: Wicked Friends Forever

or

How I Stopped Worrying and Learned to Enjoy Regime Change!

  

  
     

Chandra Lee Schwartz and Jackie Burns - Wicked - Broadway in Chicago

   
Broadway in Chicago presents
  
Wicked
   
Music/Lyrics by Stephen Schwartz
Book by Winnie Holzman
Directed by Joe Mantello
at Cadillac Palace Theatre, 151 W. Randolph (map)
through January 23  |  tickets: $35-$105  |  more info

Reviewed by Paige Listerud

Big, bold Wicked is back in town. Broadway in Chicago launched its surefire holiday winner with military precision Friday night at the Cadillac Palace Theatre. Not a wrong note. Not a misstep. Not a hair out of place–and they’ve got a million fabulous wigs (Tom Watson) to keep in check, y’all.

Jackie Burns and chanra Lee Schwartz as Elphaba and Glinda in WickedJoe Mantello’s direction follows the Powell Doctrine of “overwhelming force,” so that audiences can be assured of Wicked as the one-stop shopping place for big talent, over-the-top pageantry, feel-good humor, and blow-your-hair-back music. To quote Oscar Wilde, “Nothing succeeds like excess.” Plus, the production displays no shame in borrowing from the Disney playbook. So, do you desire dueling divas with the lungs and control to belt out those power ballads? Check. A suave male lead to fight over? Check. A goofy headmistress who turns into Cruella De Vil? Check. Gorgeous lighting (Kenneth Posner) and fun special effects (Chic Silber)? Check and check.

Don’t forget the tight and driven orchestra (P. Jason Yarcho) or the most excessive, blatantly overdone, asymmetrical costuming (Susan Hilferty) in the world. So, for those still on the lookout for a really, really big show to entertain family or those out-of-town guests, your ship has come in.

Naturally, Wicked is also really, really lite entertainment. Not that there’s anything wrong with that.

Still, revisiting Wicked creates a curious opportunity to re-examine the recent historical conditions under which it developed. Opening a month and a half after the US invasion of Iraq, Wicked throws a few blunt jabs at the War on Terror. Winnie Holzman (book) tried to throw a little politics into the mix without disturbing the musical’s overall feel-good vibe. It’s interesting to gage how well that has held up over the years. For the most part, since Wicked plays it both ways, its safe, bland pronouncements against oppression, increased surveillance, First Amendment violations and picking on people who are different come across like a beauty queen telling you that she wants world peace.

     
Chandra Lee Schwartz as Glinda the Good Witch Photo 6
Richard H. Blake as Fiyero in Wicked The Wonderful Wizard Jackie Burns as Elphaba in Wicked

But, hey, Wicked’s not about politics, right? Heck, no! It’s about two young women of radically different temperaments discovering that they can be best friends forever. Since Oz society casts the girls as “Good’ and “Evil”–and since they themselves never publicly buck that casting–the musical then becomes a rough and sloppy allegory on the moral ambiguities of Good and Evil becoming best friends forever. Now, there’s a fine fairy tale for a nation that cannot make up its mind. Are we the liberators of Iraq and Afghanistan or are we just making the world safe for Halliburton, BP, etc?

I only ask because, you know, not to be a buzz kill or anything but we are still in the middle of the same wars. Very. Very. Expensive. Wars.

Never mind. It’s the holidays and what better to take our minds off our troubles than a mongo production about two girls who loathe each other but, through a merry mishap, become college roommates, who then learn to love each other. I know it sounds predictable and, frankly, lesbian – but relax, parents, even the heterosexuality in this show earns only a G-rating. So, on that cheery note, Wicked is fun for the whole family, especially if your family is made up of girls or gay boys who’ve memorized the soundtrack from beginning to end.

I kid. Straight males can also get a lot out of Wicked, like finding out how the female mind works.

One of the most important rules of feminine society is “be nice.” Always be nice, no matter what. Even if people absurdly hate you for your green skin, even if your family rejects you, even if you’re a social pariah the moment you walk in the door, always, always be nice. Niceness is the perpetual feminine social criteria and niceness always kills.

Elphaba (Jackie Burns) delivers a deliciously sinister witchy laugh but, for all that, her outsider bad girl suffers from a distinct lack of personality. Whatever power Burns exhibits—and she is a (whew!) powerful Broadway songstress—she’s still straitjacketed into a role where nice victimhood is the order of the day. Even Elphaba’s breakout moment in the second act, when she operatically vamps into a fully-formed Wicked Witch of the West with “No Good Deed,” is a transformation that goes nowhere because we never get to see her act wicked.

Chandra Lee SchwartzClearly, the creators of Wicked had far more fun developing Elphaba’s foil. Galinda/Glinda (Chandra Lee Schwartz) overtakes the show. Glinda has mastered nice so well she can be nasty, two-faced, empty-headed and hypocritical yet still retain the love of the hoi polloi. Glinda gets star treatment, not just from the people of Oz, but also in the production’s visual quotations of Legally Blonde during “Dear Old Shiz” and Evita during “Thank Goodness.” “Popular” is a wonderfully funny, sassy and knowing number, not just for its humorous critique of popularity, but also because the song just tells it like it is. Schwarz’s easy control over her part vivifies Glinda’s zany pretentiousness without making her ridiculously clownish. Her classical voice training certainly plays pink princess Elphaba’s green girl next door, but the real mastery she exhibits comes from her comic timing.

Through Elphaba we get a bad girl who isn’t really threatening. Through Glinda, Wicked gets to poke fun at the feminine rules of niceness without raising hairs on parental necks. Through Wicked we all get to laugh at the emptiness and shallowness of our social and political order without really altering it. We feel more helpless now than ever to alter it and that helplessness, in turn, reflects in all our entertainments, lite or otherwise.

We hope and change but nothing really changes. That’s the malaise we share with Oz. No matter how shallow we know popularity is, popularity is politics and popularity ultimately wins. Sure, Madame Morrible and The Wizard (Chicago natives Barbara Robertson and Gene Weygandt) get their comeuppance once Glinda takes over. But, no matter what regime change goes down in Oz, Good Glinda, who was never really good, still has to live out her central casting as Good–however limiting that is for her—while wicked Elphaba, who was never really evil, still has to live fugitive from the angry mob.

It seems that, at least according to Wicked, the marginalized are to stay marginalized for the sake of maintaining order. (Does that go for the talking animals as well, the ones who were oppressed under The Wizard’s regime? We never find out.) Plus, it’s not just that Elphaba or Glinda find themselves thrust into unyielding roles; it’s that they accept these artificial roles without trying to correct their fellow citizens about them or they accept them under the pretense of serving a “greater good.” For the greater good, truth has to be sacrificed. For the greater good, you stay in your artificial, socially constructed role and I’ll stay in mine.

Accept the role society has placed you in, even if you know it’s false. I’m not sure that’s a message that I would want any girl or boy to take away from an evening’s entertainment.

Sacrifice the truth. Um, no. That never leads to anything good.

Accept that there are some things the people are better off not knowing—they’re just a bunch of dummies anyway. No, I think I’d prefer something that encouraged young people to stand up to the crowd, as well as to their leaders, and I think I’d want them to engage with their fellow citizens, rather than write them off as impossible ignoramuses.

I’m obviously asking too much of Wicked. It’s just a friggin’ musical, for cryin’ out loud; a musical made for fun, a musical for girls and boys who don’t feel popular and who want a heroine of their own, a playful diversion from reality. But in a way, with the topics it attempts to examine, Wicked asks for it.

In the face of America’s continuing economic malaise, its stalemated Congress and its continued involvement in demoralizing, resource-sucking wars, I don’t see the value of a production that teaches either kids, or the adults that brought them, mournful helplessness over imbedded social structures or the chicanery of the powerful. After all, one good witch or, rather, two good witches are not going to get us out of this mess. 

But hey, at least we get to see the Wizard!

   
   
Rating: ★★★
   
   

Scene from Wicked by Stephen Schwartz - Broadway in Chicago

     
     
December 7, 2010 | 1 Comment More

Addams Family set to go through Revisions

“Revisions” for ‘Addams Family’ before Broadway run

The Addams Family
Ford Center for the Performing Arts, Oriental Theatre

As the musical begins, there are storm clouds gathering over the Addams Family home. Wednesday is falling in love, and guess who's coming to dinner?

Synopsis:
In this original story, the famously macabre Addams Family is put to the test when outsiders come to dinner, hurling Gomez, Morticia, Wednesday, Pugsley, Fester, Grandmama and Lurch headlong into a night that will change the family forever.
Show Advisory:
None
Genre:
Musical
Cast List:
Nathan Lane, Bebe Neuwirth, Terrence Mann, Carolee Carmello, Kevin Chamberlin, Jackie Hoffman, Zachary James, Adam Riegler, Wesley Taylor, and Krysta Rodriguez
Production Credits:
Direction and design by Phelim McDermott and Julian Crouch
Lighting design by Natasha Katz
Sound design by Acme Sound Partners
Puppetry by Basil Twist
Music direction by Mary-Mitchell Campbell
Orchestrations by Larry Hochman
Dance arrangements by August Eriksmoen
Hair design by Tom Watson

Special effects design by Greg Meeh
Fight direction by Rick Sordelet
Heidi Miami Marshall will serve as associate director

Other Credits:
Lyrics by: Andrew Lippa
Music by: Andrew Lippa
Book by: Marshall Brickman & Rick Elice The producers of Addams Family, set for a spring Broadway opening, have hired the Tony Award-winning director Jerry Zaks as a consultant for the $16.5 million production, attempting to revive the musical from its less-than-glowing reviews.

perhaps we were taking a little too much for granted assuming that the audience walks in with the relationship with the Addams family fully intact, and we didn’t appropriately reconnect the audience to the family members,” said producer Stuart Oken.

No one on the creative team has left the show or been fired, Mr. Oken said, with Phelim McDermott and Julian Crouch still listed as the directors and production designers, and Mr. Zaks billed as creative consultant.

Mr. Zaks is close to Mr. Lane, having directed him in the long-running Broadway musical revivals of Guys and Dolls in 1992 and A Funny Thing Happened on the Way to the Forum in 1996, for which Mr. Lane won the Tony Award for best actor in a musical.

The musical’s lead producers, Stuart Oken and Roy Furman have admitted that the plot needed to focus more tightly on the Addams family members and that all roles, starting with Gomez (Nathan Lane) and Morticia (Bebe Neuwirth), needed their eccentric and subversive personalities clearly established in dialogue and song before the main action of the plot begins.

 

Bebe Neuwirth and Nathan Lane 1

January 29, 2010 | 0 Comments More