Monday in the Park with Pippin, Annie and Dee: Photos of the Broadway in Chicago Summer Concert at Millennium Park

Monday night, the pavilion and lawn in front of Pritzker Pavilion were packed, far more so than at free concerts by notable rock acts Bob Mould, Richard Thompson and The Both that I attended earlier this summer at Millennium Park.

Without comment on its full, supposedly less than robust, financial picture, the City of Chicago is to be commended for all the superlative live music it provides for free--across many genres--especially as the glorious Millennium Park celebrates its 10th anniversary.

With the Chicago Jazz Festival coming up at the end of this month, on Monday the complimentary attraction was Broadway in Chicago's annual summer concert.

This can be a showcase for shows that are currently running in BIC theaters as well as upcoming ones, but the only "now playing in Chicago" musical represented in the 2014 iteration was Million Dollar Quartet, which has been running for years at the off-Loop Apollo Theater and not known to be under the BIC auspices. (It isn't listed on the Broadway in Chicago website.)

So it is to Broadway in Chicago's credit that their impressive pedigree--and the city's renown as a theater town--are able to bring in Broadway-caliber performers just to sing a song or two from shows that in some cases won't hit local venues for well over a year.

And that a capacity crowd of 11,000, plus supposedly a good bit of overflow, came out to hear them.

As a Broadway in Chicago subscriber, I was invited to avail myself of a prime pavilion seat without waiting in line, and took advantage of my proximity to take numerous photos (and some video) of each performance. As you'll see, the performers predominantly weren't in costume.

This isn't intended to be a review, in a critiquing sense, but merely a recap of what I saw and heard. (The performers listed in the captions are based on pre-show text upon the video screen, and may not be complete or precise.)

A pre-show dance-along performance to "On Your Feet" representing the forthcoming
pre-Broadway musical of the same name about Gloria & Emilio Estefan

A well-sung National Anthem by two award-winning high school students, Julia Lindsay Whitcomb and Jonah Rawitz

Million Dollar Quartet did a medley of songs by Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis. Performers included Marc Ededstein, Robby Kipferl, Kelly Lamont, Adam Lee, Lance Lipinski, Vance Okraszewski & Shaun Whitley

ABC-7 television personality Janet Davies was the concert's emcee and participated in a performance by
Kevin James (no, not that one) of The Illusionists: Witness the Impossible

From Evil Dead the Musical, coming soon to the Broadway Playhouse, Andrew di Rosa, Callie Johnson and David Sajewich
sang a fun song seemingly called "Candarian Demons"

Representing Pippin, which won the 2013 Tony Award for Best Musical Revival, were Ariana DeBose and Kyle Selig

Both with solid Broadway credits, Josh Young and Erin Mackey sounded strong on songs from the upcoming world premiere
of Amazing Grace, including the famous title tune. Young's was the most impressive voice of the night.

A new musical of Hansel and Gretel, coming to the Broadway Playhouse, seems to be aimed at kids, but
I was impressed by the song performed by Navi Afshar and Jack Ball, perhaps titled "Always Me and You"

The sun was shining on Monday night, but Adia Dant and her dog Macy--from Annie--assured that it would come out "Tomorrow"

Who crashed the musical theater party but none other than the leader of Twisted Sister, who has concocted
Dee Snider's Rock & Roll Christmas Tale. Dee himself previewed a mash-up of "We're Not Gonna Take It"
and famous Christmas Carols, as shown in the video below:

Apart from the above, Newsies is probably the most anticipated musical of my upcoming BIC subscription series.
Adam Kaplan did a nice job on a song from it, but a bit more representation might have been nice.

Before the show started, I happened to notice the woman above on the edge of the crowd and thought, "Wow, she's a beauty."
Turns out I was right in more than just leering opinion, as Hilary Maiberger, with Derick Pead, represented yet another touring production of Disney's Beauty and the Beast.

Following its Fall 2012 pre-Broadway tryout in Chicago en route to Broadway and a Best Musical Tony, Kinky Boots
will stop in Chicago next summer on its first national tour. Ellyn Marie Marsh was on-hand Monday night to sing a song.

A performance from Rodgers & Hammerstein's Cinderella by Paige Faure and Andy Jones ended in charming fashion.

Seems Chicago will never get enough of Jersey Boys, which will be back yet again. As Frankie Valli, John Michael Dias
belted out "My Eyes Adored You" and "Can't Take My Eyes Off of You"

Next spring, Chicago will get a pre-Broadway run of First Wives Club: the Musical, based on the movie and seemingly
featuring a score combining Motown classics and original songs. Becca Kaufman, Megan Murphy and Bethany Thomas
sounded good backed by the Monet Motifs Choir.

A surprise ending to Monday's concert came with two songs from Beautiful: The Carole King Musical, which will hit
Chicago in late 2015. Rebecca LaChance performed fine versions of "Will You Still Love Me Tomorrow" and "Beautiful."

I sat up close in the pavilion but took this from the lawn--which had already largely emptied--afterward,
as I never fail to marvel at Frank Gehry's Pritzker Pavilion, especially when bathed in light.

'Sister Act' Showcases a Host of Appealing Habits -- Chicago Theater Review

Theater Review

Sister Act - The Musical
Auditorium Theatre, Chicago
Thru December 2
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Twenty years ago, the movie Sister Act was released to substantive acclaim and success. It starred Whoopi Goldberg as a singer who—on the run from her criminal ex—hides out in a convent and teaches the nuns to sing much more soulfully.

I saw it once, perhaps when it was released on videotape—remember those?—and without being able to recall any specifics, I think I adequately enjoyed it (but not enough to see the sequel).

Because I pay attention to such things, I know that more recently, Sister Act was developed into a stage musical that was produced in London before coming to Broadway in April 2011, where it ran until August of this year. 

The touring version, now playing at the Auditorium Theatre in Chicago, is part of my Broadway in Chicago subscription series, but I really didn’t remember it was on my slate until I noticed it on my calendar a few days ago. Coming after the pre-Broadway tryout of Kinky Boots and prior to the arrival of the phenomenally successful The Book of Mormon, it hasn’t exactly been a beacon on my musical theater radar. Other than cueing up the cast album on Spotify a couple times in recent days, I didn’t arrive at the Auditorium with much awareness nor anticipation.

But I left having been faithfully entertained.

Sister Act is not a groundbreaking musical nor is it among the very best I’ll see, even this year—though it may make my Top 10—but it is an entirely enjoyable one, crafted by esteemed professionals and, on its first Chicago visit, featuring impressive talent in the lead role and throughout the cast.

Based on the movie script by Joseph Howard, the book of the musical was written by Cherie and Bill Steinkellner, whose Broadway credits aren’t extensive but who were writers/producers for TV’s Cheers. Douglas Carter Beane, who has written several plays and musicals, did some additional book work. Alan Menken, a composer celebrated for many Disney stage and screen musicals, wrote the music, with Glenn Slater handling the lyrics as he did with Love Never Dies, among other shows. Four time Tony winner Jerry Zaks is the director and Whoopi Goldberg is one of the producers. So the show's creative pedigree is pretty strong and the result is clearly Broadway caliber, if not quite of the highest order.

As I mentioned, I don’t remember the movie very well, but based on what I gleaned from Wikipedia, the musical relocates the action from San Francisco to Philadelphia and changes the names of some characters, but otherwise stays fairly true to the film. In Chicago, Ta'Rea Campbell plays the Whoopi role of lounge singer Deloris Van Cartier. With impressive Broadway credits, Campbell is quite strong vocally, though isn't nearly as comedically wry as Goldberg.

Kingsley Leggs reprises his Broadway role as Curtis Jackson, Deloris’ boyfriend turned pursuer, and delivers a stellar rendition of "When I Find My Baby," one of the show’s best—and most imaginatively staged, in a Four Tops vein—songs.

It was also great to see Hollis Resnik, a venerable Chicago performer, well handle the the show’s second-billed role, that of Mother Superior. She demonstrated her strong voice on "Here Within These Walls" and particularly "Haven't Got a Prayer."

While the musical has a bit of trouble dramatizing Deloris’ story prior to landing in the convent, and doesn’t do a perfect job with some second act transitional numbers, for the most part the plot line is engaging, the dialogue is funny—my Catholic friend admittedly “got” a few more jokes than I did—and the score is ebullient.

As a rule, the upbeat songs on which the nuns sing together are considerably stronger than anything else, though this formula suffers a bit on the finale, “Spread the Love Around,” the weakest of the group numbers ("Raise Your Voice" and "Sunday Morning Fever" are much more infectious). 

Along with strong work by Campbell, Resnik and Leggs, Lael van Keuren beautifully delivers "The Life I Never Led" in the role of Sister Mary Robert, and though as cop Eddie Souther, E. Clayton Cornelious doesn’t get to show off his talent all that much, it was readily apparent he has a lot of it. And maybe I just like her name, but I feel compelled to note Florrie Bagel who played Sister Mary Patrick.

Though it isn’t perfect, or quite brilliant, there is nothing particularly wrong with Sister Act. While the cavernous Auditorium isn’t the best venue for it—or any musical for that matter; fortunately, balcony seat holders were allowed to move downstairs—the show delivers solid entertainment that should please any musical theater fan. Especially ones who can appreciate the sly musical references in Menken & Slater's original score, which at least in terms of artistic merit is more commendable than a soundtrack of '70s disco and soul hits, such as Priscilla, Queen of the Desert relied upon for crowd-pleasing pep.

I think the fact that Sister Act is on a post-Broadway tour contributed to it seeming a bit less exciting than Kinky Boots, which bowed in Chicago on its way to New York in the spring, but the quality of the two shows is somewhat similar.

With another Les Miserables tour having now arrived in Chicago, I can't call Sister Act the best large scale musical currently in town, but it's nun too bad. If you want to check it out--discount tickets should be readily available through HotTix--you have my blessing.

A Mostly Happy 'Fela!' -- Chicago Theater Review

Theater Review

Fela!
a musical featuring the songs of Fela Kuti
Oriental Theatre, Chicago
Thru April 15
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"Original No Artificiality!"

Though the above phrase might not seem easily syncopated into a sing-along chant, Fela Kuti isn't known as the progenitor of Afrobeat for no good reason.

And though I've seen more than 200 different musicals incorporating many different forms of music, the score and choreography of Fela!--utilizing songs by the late Nigerian icon--are easily the most unique that I've ever heard and witnessed upon a theatrical stage.

While I imagine that World Theatre Day--which was commemorated yesterday for the 50th year--connotes theatre around the world rather than "world theatre" in the vein of "world music," seeing Fela! was certainly a wonderful way to celebrate the galvanizing universality of artistic expression. 

Heading into the show last night at Chicago's appropriately resplendent Oriental Theatre, I had scant knowledge of Fela's music or life--including considerable civil rights activism--besides what I quickly gleaned from Wikipedia and briefly saw/heard through YouTube, Spotify, etc.

Reprising his Broadway performance in the title role for which he earned a Tony nomination, Sahr Ngaujah showcased fantastic acting, singing, dancing and saxophone playing, not to mention astonishing abs. But from the upper balcony, I struggled at times to understand what he was saying (due in part to his accent or perhaps my hearing). Though I think I followed most of the highlights--and some dreadful lowlights--of Fela's musical exploration, widespread adoration and governmental persecution, on an initial viewing I failed to properly appreciate the arc of the narrative.

I staunchly hail the work by Ngaujah, the rest of the exuberant cast, amazing band and renowned choreographer Bill T. Jones--who also directed and co-wrote the piece--but I enjoyed Fela! much more as an African music showcase than I followed it as biography. Reviewing the plot synopsis on Wikipedia and elsewhere this morning, it's clear I missed some important moments in Fela's life, which likely explains why I felt that Act II could have gone 20 minutes longer or shorter without much consequence.

Because it was a bit challenging to understand, on both the micro and macro level, Fela! didn't congeal as a bio-musical the way that Jersey Boys--whose return visit is up next for Broadway in Chicago subscribers--did the first time I saw it.

But this is no reason anyone should stay away from Fela!, which offers entirely accessible transcontinental delights. Given the buoyancy of the music and dancing, plus Ngaujah's delightfully affable turn as host--the story is structured to be told from the stage of Fela's Lagos nightclub, The Shrine--even if one doesn't grasp the full extent of Kuti's estimable undertakings and daunting hardships, you'll get the general idea while being eminently entertained.

There is no shortage of articles and books one can read about Kuti, as well as a documentary and numerous video clips. So even if this ebullient show hits you more in your groove thing than your brain thing, that's not a bad thing.

Though certainly not an exclusively joyous account of a gifted musician's life, Fela! should make you most happy, indeed.

(If you don't get the reference of my headline or last line, click here. And also visit NothingButNets.net to support the show's efforts to help curb deadly malaria--caused by mosquitos--in Africa.)

Finely Sung 'South Pacific' Makes for "Some Enchanted Evening" -- Theater Review

Theater Review

South Pacific
a Rodgers & Hammerstein Muscial
Cadillac Palace Theatre, Chicago
Thru February 26
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Like Picasso for painting, Chaplin for early cinema, Hitchcock for suspense films, Mozart for classical music and Houdini for magic, Rodgers & Hammerstein stands as a de facto synonym for musical theater.

In some ways, at least in my (admittedly askew) mind, this undermines their legacy. The stage works (and film adaptations) of composer Richard Rodgers and lyricist Oscar Hammerstein II, including Oklahoma, Carousel, South Pacific, The King & I and The Sound of Music, are such standards that I tend not to think of them--the shows or the creators--as particularly innovative or daring.

Though as a fan of the Broadway genre, I can't help but hold Rodgers & Hammerstein's music and musicals in high regard, somehow they haven't rung quite as cool as Stephen Sondheim, Leonard Bernstein, Kander & Ebb (Chicago, Cabaret), Bock & Harnick (Fiddler on the Roof, Fiorello), Lerner & Loewe (My Fair Lady, Camelot) or Boublil & Schönberg (Les Miserables, Miss Saigon), among others. 

A year ago, when I published this piece citing my 22 all-time favorite musicals, no Rodgers & Hammerstein shows made the cut. At the time, I had never witnessed a stage production of The Sound of Music, but even after seeing two excellent renditions in 2011 it would only sneak in near the bottom.

Likewise, I still wouldn't cite South Pacific among my very favorite musicals, but on my third live voyage, Tuesday night at the Cadillac Palace, I was again reminded of just how brilliant--and plenty daring--Mssrs. Rodgers & Hammerstein were.

A musical that this openly condemns racial prejudice might seem a bit dated in 2012--though sadly, perhaps not all that universally--but when it first bowed on Broadway in 1949, the Arkansas from which the Nellie Forbush character hails still would have segregated restrooms for several more years. Central High School in Little Rock notably resisted desegregation until it was legally enforced in 1957 and the lunch counter at Woolworth's in Little Rock wouldn't be desegregated until 1963. So in penning a song like "You've Got to Be Carefully Taught" (to hate and fear), Dick and Oscar weren't exactly abstaining from boldly commenting on divisive topics.

And while modern day musicals might be lucky to offer one song that can be hummed on the way home, "A Cockeyed Optimist," "There is Nothing Like a Dame," "I'm Gonna Wash That Man Right Out of My Hair," "A Wonderful Guy" and "Honey Bun" are among the most tuneful showtunes ever written. And along with "The Impossible Dream" from Man of La Mancha, "Some Enchanted Evening" may be the most emotively enthralling solo number ever written for a man to belt out on a theatrical stage.

Fortunately, on the first night of the two-week tour stop in Chicago, these wonderful songs were done proper justice. Derived from the highly acclaimed 2008 Broadway revival from which I'd already seen a tour that played Rosemont in late 2009, this is a non-Equity tour for which Bartlett Sher's original direction has been recreated by Sarna Lapine.

Theoretically, I tend to agree with Chicago Tribune theater critic Chris Jones in his oft-made assertion that non-Equity touring shows should be openly billed as such or priced lower than shows adhering to Actors' Equity union pay standards for performers (and thus, costing their producers more). I've seen enough Equity and non-Equity tours to generally perceive the Equity productions to feature better (or at least more clearly experienced) talent.

But no one's going to put you onstage, let alone on tour, if you can't sing/dance/act and I'd be lying if I said that I could distinguish--especially from the upper balcony, but likely anywhere--the singing in this South Pacific as being lesser than what I'd expect from an Equity cast, or even on Broadway.

Yes, through my handy binoculars, Marcelo Guzzo looked a little young and ungrizzled as Emile de Becque, but as a seasoned opera singer, he belted "Some Enchanted Evening" and "This Nearly Was Mine" as well as I could have hoped.

There seemed to be a smidgen of a screech in Katie Reed's speaking and singing voice as Ensign Nellie Forbush, but not to the point of distraction, and the key supporting roles of John Cable, Luther Billis and Bloody Mary were well handled by Shane Donovan, Christian Marriner and Cathy Foy-Mahi, respectively.

Even the most illustrious musicals of old tend to have a different tonality and pacing than more recent ones--even if Rodgers & Hammerstein's works largely represented an advancement in narrative cohesion--and South Pacific (at nearly 3 hours) is a bit long and talky in parts for me to label the source material or this production as absolute perfection.

But as was once again evidenced--and in truth, I've never been disappointed by any of their classics, more just took them for granted--Rodgers & Hammerstein aren't regarded as masters of the musical art form for no good reason. And with a non-Equity cast proving that first-rate talent need not always hold a union card, this production provided far more than a somewhat enchanted evening.

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Based on the undersold balcony on Tuesday, and Wednesday's listings, tickets may be had for as low as $15 in the upper balcony (plus fees if bought through Ticketmaster, but without at the box office) or at half-price in the orchestra section through HotTix.

It Is What It Is: Very Enjoyable If Not Quite Perfect -- Theater Review: La Cage Aux Folles

Theater Review

La Cage Aux Folles
presented by Broadway in Chicago
Bank of America Theatre, Chicago
Thru January 1, 2012
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With music and lyrics by Jerry Herman--who also wrote Hello, Dolly and Mame--and a book by Harvey Fierstein, La Cage Aux Folles won the Tony Award for Best Musical in 1983 and has been revived on Broadway twice within the past 8 years.

It is what I consider a first-rate musical, but not quite among the very best of what I consider to be first-rate musicals.

Last night, the first in Chicago for the current Broadway tour--derived from a 2008 London production that transferred to Broadway--the show that spawned the gay anthem "I Am What I Am" was what it was: very enjoyable with some wonderful songs, but not the best show I've ever seen.

A few years ago, I caught a fine local production of La Cage, but hadn't seen a Broadway, London or touring rendition before this one. Supposedly, the London version that ultimately generated the current tour was intended as a scaled-down affair, so I imagine that's why the drag-queen production numbers (at La Cage Aux Folles, a nightclub in St. Tropez) weren't as over-the-top as I expected.

On this tour, the perpetually tan George Hamilton stars as Georges, the owner of La Cage, where his lover Albin (played by Christopher Sieber) is the star attraction, known by his/her stage name, Za Za.

It was fun to see Hamilton onstage and although not a Broadway-caliber singer, he didn't embarrass himself. And Sieber is a Broadway veteran with an excellent voice, which enabled him to dazzle on "I Am What I Am."

But while it may be trifling, the 72-year-old Hamilton and the heavyset 42-year-old Sieber seemed somewhat mismatched. Not that Georges/Albin's romance would be a real-life impossibility, but with references to their being together for 20+ years, Sieber just seemed too young for his role, which had been played by a considerably older man in the prior version I'd seen. I won't delve into the casting history, which would likely prove my perceptions wrong, but I thought Albin is supposed to be more seasoned, with Za Za getting close to retirement age.

Which isn't to say that Sieber's casting, or the pairing, ruined the show. If a bit implausible, he was certainly solid, but I can perceive that a different performer--or even two--might have elevated things a bit.

Although it's also true that while quite good, La Cage isn't a perfect show. Some of the laughs are cheap and lessen the poignancy, too many songs utilize the same musical refrains and the story--centering around Georges' son wanting to hide his father's and Albin's relationship from his fiancé’s family, despite Albin having served as his mother--comes off as a bit familiar and even silly (though I realize the whole thing would've been more daring in 1983).

But with some great Herman songs, including the rousing "The Best of Times," La Cage--based on a 1973 French play and 1978 French-Italian film--is certainly a show with a lot to like. Yes, better musicals exist and this may not quite be the ultimate rendition, but offering a lot of fun, some wonderful showtunes and quite a bit bit of heart, La Cage Aux Folles is far from a drag.

'Love, Loss' and What a Bore -- Theatre Review

Theatre Review

Love, Loss, and What I Wore
by Nora & Delia Ephron
Broadway Playhouse, Chicago
Thru December 4
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I think I can appreciate creativity, artistry and quality in almost any form, including fashion (even if I'm no Beau Brummell baby).

And I have seen and enjoyed theatrical performances of myriad types and topics, including many shows for which I'm not the target demographic.

So while it might seem my not caring much for--nor about, but as a consequence--Love, Loss, and What I Wore is due largely to my gender, I think that does a disservice to "non-wheelhouse" shows whose quality rises above pandering to a particular audience.

Yes, had Broadway in Chicago done the smart thing and offered subscribers a choice of Love, Loss... or Colin Quinn: Long Story Short--another show it presented at the Broadway Playhouse this fall, and one that skews more heavily toward men--I would have chosen the latter to be part of my series. (I saw Colin Quinn and enjoyed him far more than Love, Loss..., but had to buy a $40 a la carte ticket.)

And no, I don't have the emotional attachment to clothing that Love, Loss, and What I Wore purports to be universal among women. But great theater--whether a musical, drama, comedy or five seated ladies reading from binders, as was the case here--should rise above the confines of its subject matter to hold some appeal for all audiences.

In fact, despite a lack of passion for fashion and almost no recall of specific clothes I wore on a given occasion--other than topical ties or a Springsteen concert t-shirt to a subsequent show--I get what the Ephron sisters are trying to evoke in their "play" based on a 1995 book by Ilene Beckerman.

With a greater feeling of authenticity, more insightful humor or even more poignant nostalgia, Love, Loss... could have been much more winning. But despite the writing talents of the Ephron sisters--Nora penned When Harry Met Sally and Sleepless in Seattle, which she also directed, and Delia also has a number of film credits--the whole affair comes across as rather facile and obvious.

I understand why the show needs to be scripted rather than ad libbed, but I would much rather have heard the ladies onstage--including the superb Chicago actresses Barbara Robertson & Felicia Fields and Saturday Night Live vet Nora Dunn--speak honestly about what certain clothes and related experiences have meant to them, rather than reciting canned stories that lack spark or much heart.

Sure, some of the anecdotes that involved childhood, death or illness couldn't help but be moving, and some observations were sufficiently funny, but for the most part, Love, Loss, and What I Wore didn't just seem ill-fitting; rather, the whole fabric of the felt-much-longer-than-90-minute show is poorly designed.

Quinn Offers Mighty Insights of Historical--and Often Hysterical--Import -- Theater/Comedy Review: Colin Quinn, Long Story Short

Theater/Comedy Review

Colin Quinn: Long Story Short
Broadway Playhouse, Chicago
Thru September 10, 2011
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Not too long ago, if asked to list comedians I would hope to see live on stage, Colin Quinn wouldn't have made my list.

Which isn't to say I haven't found him funny. Although I rarely watched Remote Control back when the Brooklyn-born comic hosted it on MTV, I somewhat liked Quinn on Saturday Night Live, especially when hosting on Weekend Update, even if not as much as his predecessor, Norm Macdonald. And in recent years, Quinn has demonstrated great wit in guest appearances on Howard Stern's radio show and as a participant on various celebrity roasts. Still, I wasn't exactly seeking him out, on TV, let alone the local comedy club circuit.

But especially given that the tenor of his Stern appearances has often been about being down on his luck, personally and professionally, it's nice when a skilled comedian--or anyone for that matter--has friends in high places. Although I didn't see it--it was said to be awful--Quinn was included in the 2010 movie Grown Ups with his higher-profile SNL mates Adam Sandler, Chris Rock, David Spade and Rob Schneider.

Also in 2010, another of Quinn's friends, Jerry Seinfeld, convinced Colin to do a one-man show, offered to direct it and undoubtedly helped get backing for it to bow on Broadway last fall. It had a nice 135-performance run and is now touring the country.

This is the second week of Quinn's show Long Story Short at Chicago's Broadway Playhouse, with two shows tonight and tomorrow concluding the run. While the show has already been televised on HBO and catching a rerun there would likely be sufficient, I would certainly recommend that anyone so inclined get down to Water Tower Place to see Quinn's intelligent insight on the follies and foibles that have linked almost all cultures throughout world history.

Perhaps because I went into the show believing that greed and self-centered motives have accounted for man's downfall--though rise as well--recently and for much of time, I found Quinn's material to be agreeably shrewd as he gave "the history of the world in 75 minutes." While it was more akin to the best college lecture you ever could imagine rather than chock-full of laugh out loud lines, Quinn enjoyably traversed time and space from ancient Greece and Rome to British Empire to a present day where survival of the fittest means we "came from the pricks, not the nice guys."

Some of Quinn's best jokes were the seeming throw-away lines at the end of a run about an era's idiocies, and I probably missed a few. But thoughts such as one about "why is Marxism so called if Marx and Engels worked on it together and equality is a key premise," show the depth of Quinn's intelligence. Another great strain was one where Quinn compared Julius Caesar and his reign over Rome to that of a mob boss.

As enjoyable as it was, I don't know that I liked Long Story Short too much better than I would have a standard Quinn stand-up routine, and there was little overtly Seinfeldian about it. But whereas Jerry is a genius when it comes to the absurdity of life, Quinn's take on the absurdity of life over the course of  history was definitely well worth an evening of mine.

Pretty and Witty and Bright...and a Storied Delight in all Directions -- Chicago Theater Review: West Side Story

Theater Review

West Side Story
a touring production presented by Broadway in Chicago
Cadillac Palace Theatre
Through August 14, 2011
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West Side Story is one of the greatest works of entertainment ever created.

The confluence of genius between Arthur Laurents’ Romeo & Juliet-derived, multi-ethnic story, Leonard Bernstein’s beautifully orchestral score, Stephen Sondheim’s brilliant lyrics and Jerome Robbins’ groundbreaking choreography & direction resulted in a show that was simultaneously—upon its initial Broadway bow in 1957—of its time, ahead of its time and entirely timeless.

The stage musical and its success—despite losing the Tony Award to another phenomenal show from 1957, The Music Man—spawned the Oscar-winning movie version in 1961, and West Side Story may well stand as the most famous musical of all-time, with its title well-known even among those who have no affinity for the genre.

While the show has long been a staple in the realms of high school, college, community and regional professional theater, I have no recollection of a full-fledged touring version playing a downtown Chicago theater; certainly not in the past dozen years and perhaps never in my lifetime.

So however ubiquitous West Side Story may seem, the current national tour now playing at Chicago’s Cadillac Palace Theater is really a rare and remarkable treat. I had seen the 2009 Broadway revival from which this touring production is derived and except for remembering that the leads in New York were especially first-rate (and beautiful), I doubt that this full Equity production is in any way inferior. And the leads in Chicago—Kyle Harris as Tony, Ali Ewoldt as Maria and Michelle Arevena as Anita—all looked and sounded pretty damn good.

So when you take a musical in which nearly every song is a masterpiece and give it a first-class staging with Broadway-caliber actors, actresses, singers & dancers, re-creations of Jerome Robbins’ original choreography and devote a 20-member orchestra to enunciating Bernstein’s glorious score, the result is a pretty special evening of entertainment.

Virtually the whole show was a highlight, with astonishing dancing during the "Prologue," the "Dance at the Gym," "America" and the "Somewhere" ballet--a truly spectacular number--and strong vocal takes by Harris on "Something's Coming," "Maria" and dueting with Ewoldt on "Tonight."

Occasionally Ewoldt's voice didn't seem to mesh perfectly with Harris'--a quite minor quibble--and her take on "I Feel Pretty," complete with some new Spanish lyrics was ebulliently fun.

And though it's always seemed a bit odd coming (not immediately) after dead bodies have been strewn about the stage, the Jets' take on "Gee, Officer Krupke" was truly sensational.

Although I won't hold this against the performers themselves, one small flaw on opening night was the under-amplification of the spoken dialogue (or maybe I just can't hear anymore after that Soundgarden show on Saturday). The volume needs to be pumped up a bit, but this was only a minor distraction and even the nosebleed seats should suit anyone just fine. The sets are adequate though not supersized, but with all the spirited, company-wide dancing, the balcony provides a nice vantage point.

West Side Story has such great source material that any production that stays fairly true to the original vision is bound to be enjoyable. In addition to seeing the show on Broadway, I've caught a summer stock rendition (at Little Theatre on the Square in Sullivan, IL) and an in-the-round version at Marriott Theatre Lincolnshire. I remember all being extremely stellar. But as I noted above, a touring version of a Broadway revival--which had been directed by Laurents, who passed away earlier this year--is really an extreme rarity, even more so these days by virtue of featuring an Equity (actors union) cast.

Musical theater doesn't get much better than this and if you appreciate the art form, you're bound to be thankful if you go to see this production.

(How to score cheap tickets: Although I was delighted to see the Cadillac Palace packed on opening night, keep an eye on HotTix.org and Goldstar.com for discount tickets. Or avail yourself of a great bargain in terms of special Broadway In Chicago subscription package. As you can see here, 6-show packages start at just $100--for seats way up in the balcony, like mine--but if you add West Side Story for a 7-show package, the cost is just $110. Other shows of note in the series are Memphis, La Cage Aux Folles and Come Fly Away, but $10 for this great a version of West Side Story is really a steal; somebody better call Officer Krupke.)  

'Spring Awakening' Still Holds Up, But Is Ready For a Downward Progression -- Theater Review

Photo by Andy Snow - SpringAwakening.com

Theater Review

Spring Awakening
a recent musical presented by Broadway in Chicago
Ford Center for the Performing Arts/Oriental Theatre, Chicago
Thru May 8
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I think it's somewhat unfortunate that national touring productions of Next To Normal and Spring Awakening are both playing in Chicago during the same week. (This is the second & final week for NTN and the only one for SA.)

For while it's always great to see the downtown theaters abuzz with activity, my suspicion is that these two musicals--both among the very best of the last five years--may cancel each other out in terms of ticket buyers with time to see just one show. Although each show is completely unique and extremely worthwhile its own right, they are both mold-breaking musicals that are heavy on drama, feature an original rock-infused score and aren't based on extremely famous source material (though Spring Awakening is derived from an 1891 German play).

Both have also offered discounted tickets on HotTix so it's easy to imagine some may wind up choosing one over the other. If you're in this boat this weekend, I'd recommend you go to see Next To Normal (which I reviewed here). It's definitely the better production, even though I believe Spring Awakening is the better musical.

More so than Next To Normal did when I saw it for the first time last week, Spring Awakening blew me away when I saw it on Broadway in January 2007, just weeks after its opening. It was one of the freshest pieces of theater I've ever seen and its rock score--sometimes quite hard rocking--by Duncan Sheik was truly exhilarating on a number of songs. The choreography by Bill T. Jones, even in a relatively small setting, was likewise outstanding as the show dared to explore sexual repression and awakening among Bavarian teenagers.

Although the show began its first national tour in 2008, for whatever silly reason it didn't arrive in Chicago until August 2009. I saw it then and again enjoyed it, though not as much as with the original cast. And although its current visit to Chicago wasn't included in my Broadway in Chicago subscription, I like the show enough to opt to see it once again--likely for the last time--on the level of a national tour.

And I'm glad I did. The source material is great enough that I was sufficiently entertained and satisfied. I recommend it to anyone, even if it means seeing two musicals this weekend.

Photo by Andy Snow

But whereas Next To Normal now playing in Chicago features a Broadway-level cast including the Tony-winning star Alice Ripley--though I guess she's missed some performances--this version of Spring Awakening features a non-Equity (the actor's union) cast and thus virtually no one with Broadway pedigrees.

This isn't to say the performers weren't talented; I found almost all--including Coby Getzug (at left) as Moritz--to be more than adequate. But they were clearly a step, or two, down from what I'd seen on Broadway.

And probably not any better than a cast of Chicago-based actors & actresses would be. Given the relative sparseness of the staging (even on Broadway), this is a show perfectly suited for a local troupe to present, say at the Theatre Building, or even for a non-prudish college theater department to present.

I don't know if it's licensed down to that level yet--although the numerous empty seats on opening night in Chicago suggest that the touring version may be running low on financial gas--but it should be.

This is an awesome show that would thrive on the excitement and energy of great young performers, anywhere, and the size of a venue like the exquisitely beautiful Oriental Theatre was actually a detraction. Not only was the acting and singing not quite sensational, even the band wasn't quite on, with an under-amped guitar dampening the power of early Act I rocker, "The Bitch of Living."

To be fair, Act II's phenomenal "Totally Fucked" brought the house down and reminded me of the exhilaration upon first seeing Spring Awakening. So although it may be hard to tell, this is a much more positive than negative review. If you've never seen the show, you really should, and now's as good a time as any.

But I'm looking forward to seeing the show rocking out--and heck, breaking windows--in a Chicago storefront theater in the hopefully not-too-distant future. It's time for Spring Awakening to revitalize itself on a local level.

(This is a clip from the Broadway version I saw, starring Jonathan Groff and Lea Michele.)

"Working" Pays Off Surprisingly Well -- Chicago Theater Review

Theater Review

Working
a musical based on the book by Studs Terkel
adapted by Stephen Schwartz & Nina Faso
Broadway Playhouse at Water Tower Center, Chicago
Thru May 8, 2011 (officially in previews til March 1)
@@@@1/2

The shortest theater review in history is commonly credited to legendary critic Walter Kerr, who sublimely summed up his take on a 1951 played called I Am A Camera by writing simply: "Me no Leica."

Before heading to the Broadway Playhouse to catch the first night of a newly revamped musical called Working--which was originally created in 1978 based on a book by Studs Terkel--I wondered if potential displeasure might prompt me to compete for the "shortest review" title.

Fortunately, although "Working isn't" and "Working stinks" came to my always semantically-inclined mind, the show itself quickly proved that Working needn't engender such negativity. Nor brevity, which has never been a strong suit (and "Working is" just doesn't have the same ring).

Mind you, although I am far from a professional critic and not forbidden from reviewing "Preview" performances--nor caught up in the recent controversy on the matter--I probably wouldn't have felt too good about slamming a recently re-created show on its first night in town, even in two words or less.

But even if I didn't see the show in peak Working condition, I was tremendously impressed with the content, production and performances. Somewhat surprisingly so.

I was largely oblivious to the history of the show until yesterday--I'd heard of the book but have never read it--so didn't realize the 1978 Broadway run was nominated for five Tony Awards. And while the pedigrees of the multiple songwriters involved were quite stellar, I was skeptical about Working coming off as something more than a stunted, stylistically-divergent revue of songs about working life.

But in accompanying compelling insights based on Terkel's interviews (and some more recent ones) with individuals in a range of occupations, the instantly apparent quality & depth of the songs was remarkable. It says much about the resonance of the 1978 tunes by Stephen Schwartz (of Wicked fame), James Taylor, Craig Carnelia, Mary Rogers/Susan Birkenhead and Micki Grant that none seemed out of place in 2011--though a few of the old songs have been dropped--even next to two newly-penned numbers by streetwise In The Heights creator Lin-Manuel Miranda.

With Gordon Greenberg directing a uniformly wonderful cast of Chicago stage stalwarts E. Faye Butler, Barbara Robertson and Gene Weygandt alongside the younger trio of Michael Mahler, Emjoy Gavino and Gabriel Ruiz, a few of the many highlights included Schwartz's "All the Livelong Day" & "It's an Art" (about waitressing), Miranda's "Delivery," Taylor's "Brother Trucker" & "Millwork" and Carnelia's touching, Sondheimesque "Joe" about a recent retiree.

In addition to finding the employee vignettes--some within songs, some without--rather riveting, perhaps in keeping with Studs' man-of-the-people sensibilities, I noted how nearly all the occupations showcased were ones involving building things, directly helping others or otherwise doing something quite tangible.

Chicago's late, great Studs Terkel

In other words, there were no odes to the joy of trading derivatives. In fact, a non-singing character of a hedge fund manager came off with less likability than that of a prostitute.

As a 90-minute one-act show with often tenuous connectivity from one musical number to the next, Working isn't going to make anyone forget that Les Miserables is also in town. But in terms of accomplishing what it intends to do, Working pays off remarkably well.

With Schwartz--who originally adapted Terkel's 1974 book with Nina Faso--directly involved in this new production, which is well-suited to the comfortably intimate Broadway Playhouse, features local actors and isn't merely the latest stop of a road show, this is a rewarding work of musical theater any Chicagoan should work to see. (It should even go over well with atypical theatergoers.)

Mind you, outside a Broadway In Chicago subscription, standard ticket prices may be a bit steep for working (and especially non-working) stiffs. But with half-price tickets already showing up on HotTix, you shouldn't have to spend your whole income on Working.

This Ballroom Blitz Is Only Semi-Sweet -- Chicago Theater/Dance Review: Burn The Floor

Theater Review

Burn The Floor
A ballroom dancing revue
Bank of America Theatre
Thru February 13
@@1/2

I admire almost anyone who can do anything really, really well. So in saying that I didn't care for--or perhaps more accurately, about--Burn The Floor, a ballroom dancing showcase that is part of my Broadway In Chicago series, I don't mean it as an indictment of any of the performers involved.

Although I have no point of comparison--I've never even seen Dancing With The Stars--the tight-bodied, often scantily-clad dancers, accompanied by two singers and two drummers, seemed fantastic to me. Albeit at an art form for which I have no particular familiarity or affection.

So while I have no idea if aficionados of ballroom dancing would find anything done in Burn The Floor particularly groundbreaking, nouveau or extraordinary--as befitting its tagline of Ballroom. Reinvented.--all the dancers appeared to my novice eyes extremely adept as they shimmied through a series of cha-cha's, waltzes, rumbas, sambas and other dance styles.

But despite the impressive skill, stamina and versatility of the dancers, and nice work done by vocalists Peter Saul and particularly Vonzell Solomon, I can't deny being rather bored after about 15 minutes into the two hour revue.

Sure some numbers were livelier than others, with the high-energy group routines nicely syncopated, but I never felt anything much more than a detached appreciation.

Photo from Broadway production

In saying that--and with just four Chicago performances remaining I imagine ballroom dancing devotees already have seen the show, or soon will, and nobody else likely needs to--it seems a bit silly to quibble. But some of the song selections--and I believe the music was all canned except for the drum and vocal parts--felt either obvious, odd or obtuse.

Singer Solomon showed nice range in covering "Nights In White Satin," "Sway" (this one) and "Proud Mary," adding a vibe that many instrumental accompanied routines lacked, despite the dexterity of the dancers. Perhaps it reflects how little I know, or care, about the current ballroom dancing scene, but something that seemed missing was a modernized Fred & Ginger routine.

All in all, I am sure that 20 minutes of floor burning accompanied by cocktails at the Copacabana would be quite dazzling, but two hours from the balcony of the Bank of America Theatre was a lot more hot stepping than I really needed.

Thankfully I had switched my ticket from February 1st to last night, as Burn The Floor--at least for me--certainly isn't a show worth traveling through a blizzard to see. If at all.

(This is a video from the Burn the Floor website that should give a good indication of what it's all about.)

No Longer "Turning, Turning," Revamped 'Les Miserables' Isn't Quite As Revolutionary, but Remains a Glorious Success -- Chicago Theater Review

Theater Review

Les Miserables
25th Anniversary Tour
Cadillac Palace Theatre, Chicago
Thru February 27, 2011
@@@@1/2

Having seen over 200 different Broadway musicals--not on Broadway but on stage--I believe Les Miserables is the best piece of musical theater ever created. (Though it isn't quite my favorite musical; I'll be writing about that one later this week.)

Based on the classic 19th century novel by Victor Hugo, Les Miz was originally created as a French musical in 1980--with music by Claude-Michel Schönberg and lyrics by Alain Boublil--and opened in London in 1985 and on Broadway in 1987 with English lyrics by Herbert Kretzmer.

Willfully oblivious to great musicals until well into adulthood--or at least an age typically associated with it--I didn't see Les Miz until I caught it on Broadway in 1998. With an absolutely phenomenal score, including great anthems, ballads and recurring motifs, accompanying a compelling storyline and amazing scenery, I consider it--in its fullest form--one of the most perfectly-realized artistic creations of any kind.

Touring versions of the original Broadway production ran for years, but at some point after I caught it in 2002 and 2005 with the great Randal Keith as Jean Valjean (the lead character), the original production was retired, at least in America. For whatever reason, there isn't a even a DVD of the original Broadway or London stagings, just "concert" versions, but I would see high school versions of Les Miz--I haven't yet--and found Marriott Theatre Lincolnshire's in-the-round 2008 production of the show to be the best thing they've ever done (and that's saying a lot).

So when my current Broadway in Chicago season included a new "25th Anniversary Tour" version of Boublil & Schönberg's Les Miserables, featuring an all new staging and some revised orchestrations, I was pretty excited. I understand that economics mandate some scaling back of Broadway tours--though technically, this version hasn't played the Great White Way--and figured the source material was so great that the show would be wonderful in any form.

And indeed it is, if not quite as exquisite as in the past. If you've never seen Les Miz, you should definitely get down to Chicago's Cadillac Palace Theatre (or wait for it to hit your town) and if you are a longtime devotee of the piece, there's no reason to avoid this rendition. It remains a staggering work of art, and even with some scaling down of the sets--no turntable, a less intricate barricade--it is a bigger production than almost anything you'll see coming through Chicago for less than a month.

The price on my "Balcony Club" subscription ticket was $10.00, and even from the last row in the house, the artistic value I received in return was easily many times that much. Lawrence Clayton--the first African-American ever to play the lead at this level--was very good as Valjean, if not quite the best I've seen. Andrew Varela as Javert and Betsy Morgan as Fantine sang their showcase songs--"Stars" and "I Dreamed A Dream", respectively--as well as any Les Miz junkie could have hoped. Jenny Latimer as the grown Cosette and Justin Scott Brown as Marius were also notably good.

I can't say I noticed much variance in the orchestrations, although some of the lyrics and/or phrasings felt unfamiliar. At a full 3 hours, this wasn't an abridged version, but without the turntable and other past set pieces, some of the segues and even songs themselves felt rushed at times. The character of Gavroche and his "Little People" song was cut for no readily apparent reason, so [Spoiler Alert] the capture of Javert was dramatically diminished. And I missed the scrims telling me the years in which action was taking place.

None of this, nor anything else that made for a lesser Les Miz, will be much missed by those not intimately familiar with past editions. But I did notice that the emotional heft, particularly in Act II, seemed to wane a bit. Usually the Finale song, with the marching chorus of departed souls, gives me goose bumps. Last night it didn't.

While I respect producer Cameron Mackintosh's decision to freshen things for yet another Les Miz tour--supposedly Victor Hugo's own paintings served as an inspiration this time around--in the end, I can't say that it was necessary to mess with perfection. Or that the result improved on it.

Les Miserables is a @@@@@ piece of work that no musical theater fan should miss, but compared to its past glories, the current version is a 1/2@ less rousing.

'White Christmas' Flaky Fun, But Not Worth Dreaming Of -- Theater Review

Theater Review

Irving Berlin's White Christmas: The Musical
Bank of America Theatre, Chicago
Thru January 2, 2011
@@@

I have great affinity for many old movie musicals, including Singin' In the Rain, On The Town, An American In Paris, Funny Face, Gigi and Meet Me In St. Louis (and many others that came from stage musicals, like Guys and Dolls, My Fair Lady, Brigadoon and West Side Story).

But I have never seen 1954's White Christmas, and except for the title song--actually written by Irving Berlin and made famous by Bing Crosby years before the movie--and "Happy Holiday," I haven't knowingly heard any of the songs that were contained within the film.

So unlike a good portion of the full house at Tuesday night's performance of a Broadway-level production of the stage musical initially hatched in 2004, I didn't enter the Bank of America Theatre with any sense of nostalgia nor inherent affection. Although I couldn't help but have "dreaming of a White Christmas" rolling around my brain, truthfully I wasn't.

I was simply there to see a show that was being presented as part of my Broadway in Chicago subscription series. And I enjoyed it, but cannot say I loved it nor recommend it to anyone similarly uninitiated.

There was nothing tremendously wrong with 'White Christmas,' and much notably good. I don't know if it was a full Equity cast, but all of the leads had Broadway credits and throughout the ensemble, the singing and dancing was first-rate. Amy Bodnar as Betty Haynes and Ruth Williamson as Martha Watson were particularly fine and John Scherer handled the Bing Crosby role (Bob Wallace) with strong vocal chops.

Photo credit: Tanner Photography

Irving Berlin doesn't stand as one of history's most revered songsmiths for nothing; his handling of a tune like "Snow,"--in which passengers on a train rhapsodize about the weather--show why he was a master. I suspect if I had familiarized myself with the songs beforehand, many of them would have come off more resonant than simply sweet.

But at the end of any musical--or even in the midst--there are some that you sense are exceptional or close to it, a few you know are terrible and then others that are, well, just the others. 

Though I can see where 'White Christmas' might have great appeal for many--and it was nice to see so many families at the show--with its saccharin story, '50s dialogue that was too silly to qualify as adorably quaint and nice songs that seemed largely inconsequential, for me, it was--as I define a @@@ rating--good but not great.

Even if, to twist another Berlin lyric, "There's snow business like show business."

Happy Holidays to all.

"Gunter Glieben Glauchen Globen" - 'Rock of Ages' Nothin' But A Good Time, For Better or Worse

Theater Review

Rock of Ages
a musical of pop-rock songs from the '80s
Bank of America Theatre, Chicago
Thru October 3, 2010
@@@1/2

With a nearly nonstop medley of 'hair metal' hits being the mane attraction, in service of a cheesy Sunset Strip fairy tale, "Rock of Ages" is not Shakespeare, Sondheim or Springsteen. It is not as good as Billy Elliot or several other things you can see in Chicago (or New York, where it continues to run on Broadway) and not even the best piece of theater I've see this week.

As a songbook musical, it is not as good as Mamma Mia, Jersey Boys or The Million Dollar Quartet and as a glam band rock concert it's not as fulfilling as seeing Bon Jovi (which I did this summer) or the Def Leppard/Poison tour of last year. It celebrates a musical style that makes for nice nostalgia but isn't my favorite, and doesn't even include the best of it (despite the title, no Def Leppard--they couldn't get the rights--nor Scorpions, Van Halen or Guns 'n' Roses; this Tribune review includes the song list, but Paradise City is erroneously listed as far as I could tell).

Rock of Ages can't fairly be called brilliant and despite some funny moments, I didn't find it hilarious. It's not a show I would recommend to my mother, nor is it a musical suitable for young kids. And although it was nice to see the Bank of America Theatre pretty well packed, with Rock of Ages' tour opening two-week run ending Sunday seemingly being far too short, this really isn't a show that anybody absolutely has to see.

But even with all that it's not, Rock of Ages is a lot of fun. Banal fun, but with enough self-awareness to make the schtick perfectly pleasurable for those willing to go with it.

The touring cast that hit Chicago stars Constantine Maroulis, who originated the lead role of Drew on Broadway and earned a Tony nomination (the show itself was nominated for Best Musical). The Tribune's Chris Jones called Maroulis "the rare American Idol alum who can actually act as well as sing" and I remember seeing him do a nice job in Rent long before he was on Idol (which I've never watched).

Joining Maroulis is Rebecca Faulkenberry, who is engaging and well-sung as Drew's love-interest, Sherrie, and Patrick Lewallen, who draws some of the night's biggest laughs as Lonny the narrator. In addition to large, enthusiastic cast, an on-stage band does a good job of pulling off the power chords.

Despite an overload of saccharin and schmaltz, Rock of Ages is creative and cheeky enough to count as a credible piece of musical theater, rather than just an '80s cover band. I appreciate that it brings people to the theater that might not ordinarily go, and even for those of us who are fans of more traditional (and predominantly better) musical theater, there's is nothing really all that wrong with it.

If, to quote Poison for the first time in my life, you "ain't lookin' for nothin' but a good time," head down to Monroe & State before Rock of Ages hits the road. And don't forget to bring your lighter for the power ballads. (Rock of Ages U.S. Tour itinerary)

Below is a clip of Rock of Ages' Broadway Cast (including Constantine Maroulis) on the 2009 Tony Awards. And since it reminded me, this is a link to a clip of Poison's Bret Michaels getting clotheslined at the end of a ROA-themed performance at the top of the Tonys.



And in case anyone is wondering, here's a list of My Top 10 Hair Metal Bands of the '80s:

1. Van Halen
2. Guns 'n' Roses
3. Def Leppard
4. Scorpions
5. Dokken
6. Bon Jovi
7. Whitesnake
8. Ratt
9. Cinderella
10. Poison

Purists might say that Van Halen, Scorpions and GNR don't belong in this category (I didn't include Metallica or Iron Maiden for that reason), so three more "pretenders" are Twisted Sister, White Lion and Night Ranger. I never was much of a Motley Crue fan and didn't know enough Tesla. And hmm, should I have included Triumph? But being Canadian, I group them with Rush, who I don't consider 'hair metal.'

And to be clear, Rock of Ages includes a healthy dose of what I more consider '80s pop-rock (REO Speedwagon, Journey, Foreigner, Survivor) as well as songs by true hair metal acts like Whitesnake, Poison, Twisted Sister and Quiet Riot.

A Thoroughly Delightful Evening With Sutton Foster -- Concert / Theater Review with Setlist

Concert / Theater Review

An Evening with Sutton Foster
Broadway Playhouse, Chicago
Thru September 26
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I wouldn't be surprised if you aren't familiar with Sutton Foster. Although she has originated five leading roles on Broadway in the past decade, won one Tony and was nominated for three others, I imagine her Q rating (i.e. level of mass recognition) on a national level is less than many reality TV stars.

That's reality--and I doubt the winsome Foster is anything but grateful for her considerable success in the musical theater realm--but also a shame. For as she demonstrated last night at Chicago's new Broadway Playhouse, as well as on the Great White Way, Sutton Foster is one of the most appealing and vocally talented performers I have ever seen. She really should be a true American idol.

And in a previous age, Foster might have been Julie Andrews, Mary Martin or a young Ethel Merman, Broadway leading ladies who became well-known across the country and later transitioned into Hollywood.

Even though my most avid theatergoing friend in Chicago had never heard of her, for those who pay close attention to Broadway itself, Foster's '42nd Street'-like rise from a chorus girl in an out-of-town run of Thoroughly Modern Millie to leading lady by the time it hit New York has been well-told. She had already some nice credits to her name--including Broadway revivals of Grease, Annie and Les Miserables--but 'Millie' made her a Broadway star and the 2002 Tony Award winner for Best Leading Actress in a Musical.

I saw her in that show--although it took two trips to New York in 2003 do so due to a writers' strike the first time I had tickets--and was instantly smitten. Sutton was thoroughly magnificent and I was further enamored when she fulfilled a request to autograph my ticket by mail.

Subsequently I had a ticket to see her on Broadway in Little Women, but it closed before I got there, I saw her in The Drowsy Chaperone and I saw Young Frankenstein with her in the cast, but got an understudy. She also starred in Shrek the Musical which I never got to in NYC (and though I read of a possibility she would come to Chicago with the touring cast, that didn't happen).

So though I should've seen her a good bit more then the twice I already had, this explains why I joined a solid but not sold-out crowd at the Broadway Playhouse, which Broadway In Chicago has modernized from the recently built but more ostentatious Drury Lane Theater at Water Tower Place.

And it should also explain why it wasn't a surprise that Foster was fantastic in interpreting a range of songs in different styles, from "Up On The Roof" (made famous by James Taylor) to "Defying Gravity" from Wicked, a song that was picked from a jar as one of five possible choices in that slot.

About half of Foster's setlist, which I jotted down as best I could and have included below, was comprised of numbers on her new album, Wish. And from reading some reviews from elsewhere on her tour, as well as the Tribune's glowing review of Thursday night's performance, it seems for the most part it's a pretty standard set.

No reason it shouldn't be, as accompanied by great arrangements by music director and pianist Michael Rafter, Foster does a remarkable job on songs she clearly loves and demonstrates tremendous range and  dexterity across them all. Having read that she recently went through a divorce, it was apparent that she's unafraid to show vulnerability and wistfulness in songs like "My Heart Was Set On You" and "Once Upon A Time." But in relaying a story about how a flight from Seattle to New York had to make an emergency landing in Chicago, and a hard one at that, Foster showed through a song like Sondheim's "Being Alive" how irrepressible she is in looking forward.

And her take on "Show Off" from The Drowsy Chaperone was loads of fun, as she effectively downsized what was a big Broadway production number into a cabaret setting with just a microphone, but still managed to include an onstage dress change and other imaginative bits.

All in all, it was a thoroughly delightful evening, though as one minor lament, at 80 minutes it was a bit short. I was thrilled to get a ticket for just $25 at the door (and thanks again to the cute girl in the box office for letting me know they would be releasing more), but had I paid nearly $100 with Ticketmaster fees for one of the top seats, I might have felt a tad shortchanged.

And while Foster has put together a great set of music showcasing her new album, which I look forward to getting, I think she would do well to extend beyond her comfort range. Her ability to tackle diverse showtunes and easy listening pop songs is so great that I would love to hear what she might do with a Beatles song or something even more less obvious.

But in a year in which I've seen showcase performances including Broadway legends like Patti LuPone, Mandy Patinkin, George Hearn and Audra McDonald, the fact that Sutton Foster's concert was the best of its sort--and one of the most pleasing of any type--says a helluva lot. As she said in a shout out to her high school drama teacher from Troy, Michigan, who was in the audience, "You did good." (Tickets should be available for her performances tonight and Sunday afternoon, through Ticketmaster or at the venue). 

Sutton Foster set list from 9/24/10:

1. Something's Coming - from West Side Story
2. NYC - from Annie
3. Up On the Roof - James Taylor song by Goffin/King
4. Air Conditioner - by Christine Lavin
5. Warm All Over - from The Most Happy Fella
6. Show Off - from The Drowsy Chaperone
7. Supposin' / Say That - outtake from Thoroughly Modern Millie
8. More to the Story - outtake from Shrek
9. My Heart Was Set On You - by Jeff Blumenkrantz
10. I Like The Sunshine - by Duke Ellington
11. Defying Gravity - from Wicked
12. The Late, Late Show - by Alfred/Berlin
13. Sunshine on My Shoulders - a John Denver song
14. Anyone Can Whistle - from Anyone Can Whistle
15. Being Alive - from Company
16. Come the Wild, Wild Weather - by Noel Coward
17. Once Upon A Time - from All American
18. Gimme Gimme - from Thoroughly Modern Millie

To serve as a better introduction to Sutton, here are a couple old videos of songs she sang last night: