A Perfectly Delightful Afternoon in 'Brigadoon' is Not to be Mist -- Theater Review

Theater Review

Brigadoon
a classic musical by Lerner & Loewe
Presented by Light Opera Works at
Cahn Auditorium, Evanston, IL
Through June 12, 2011
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On Sunday afternoon, I had the pleasure of seeing the second performance of Light Opera Works' new production of Lerner and Loewe's first masterpiece, Brigadoon.

In telling you that I found it outstanding--to the point of near Broadway quality performances accompanying LOW's trademark full orchestra treatment--it seems almost a shame that you only have four more chances to see it.

I can't say I fully understand the business model of the Evanston-based troupe that charges downtown, touring Broadway ticket prices for predominantly non-Equity performances done over just two weekends. But in picking up a half price ticket through HotTix, as I nearly always do, I was extremely pleased with just how good this production was.

Though I have long been familiar with the legacy of Lerner and Loewe--I have seen both My Fair Lady and Camelot multiple times in the last decade, as well as Light Opera Works' stage version of Gigi--I was largely unindoctrinated to Brigadoon (other than always knowing of it and loving a line mentioning it in one of my favorite songs.) This despite having owned the 1954 MGM musical version for some time, but never watching it until last weekend in anticipation of seeing this performance.

Starring the incomparable Gene Kelly, the movie is quite good but I actually found LOW's live production to be more richly satisfying in telling the tale of an enchanted town in the Scottish Highlands that rises out of the mist one day each century.

The large cast and 24-piece orchestra really brought songs like "Down on MacConnachy Square," "Almost Like Being In Love" and "I'll Go Home With Bonnie Jean" to life with a buoyancy the movie musical didn't entirely convey.

Robert Hunt, the only Actors Equity member in the cast, was outstanding as Tommy Albright, with the exceptional voice one might expect from someone who's played Javert in Les Miserables on Broadway.

Jenny Sophia was also wonderful as Tommy's love interest Fiona MacLaren  and Emily Rogers was beautiful in the balletic role of Jean MacLaren. In a cast of standouts, Clay Sanderson and Meg Brockie were two other performers particularly worth mentioning.

As I noted in reviewing their exquisite production of Carousel last August, Light Opera Works consistently demonstrates that it may be the very best musical theater organization in the Chicagoland area. They may not put on that many performances--perhaps as a consequence--but when it comes to cast size, quality, the sublime orchestra and more than adequate scenery in the somewhat confined Cahn Auditorium, they certainly don't scrimp.

I realize it may be hard to fit the limited schedule into yours, and even on HotTix, tickets aren't all that cheap. But I promise you that if you can, making your way to Brigadoon will be worth the hike.

Light Opera Works' 'Dolly' Had Me At "Hello," But... -- Theater Review: Hello, Dolly

Theater Review

Hello, Dolly
Music & Lyrics by Jerry Herman
Light Opera Works
at Cahn Auditorium, Evanston
Thru January 2, 2011
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For a long time, Hello, Dolly has probably been the most popular, famous and best musical that I had never seen on stage.

So back in August, when I saw a phenomenal production of Carousel by Light Opera Works and heard that they would be doing Hello, Dolly at year's end, I instantly marked it on my calendar.

I didn't actually buy a ticket until last week when it showed up on HotTix, but was avid enough to get one for the opening Sunday matinee, meaning I would miss half of what turned out to be a damn good Bears game.

So my expectations were quite high and while this production of Hello, Dolly didn't quite exceed them, the worst I can say is that it was excellent.

As usual, Light Opera Works had tremendous production values, all the more notable since 'Dolly' was a typically-limited 8 show run at Northwestern's Cahn Auditorium, not a venue that LOW owns. Still, the frequently-changing scenery was impressive enough as it accompanied a 30-person cast and 22-member orchestra.

Mary Robin Roth was very good as Dolly Gallagher Levi and Peter Verdico made for a suitably ornery Horace Vandergelder, although to me they felt a bit too much like 'close but not quite' duplications of Barbra Streisand and Walter Matthau from the 1969 film version.

Jerry Herman's score (he also wrote the lyrics) has many great songs that translated into exuberant production numbers, often with superlative choreography (by Rudy Hogenmiller, who also directed), including "It Takes A Woman," "Put On Your Sunday Clothes," "Dancing," "Before The Parade Passes Me By," "Elegance," "Hello, Dolly" and "It Only Takes A Moment."

Photos from LightOperaWorks.com

With all these highlights, in sum the show couldn't help but be deliciously enjoyable, but the many peaks made some of the songs & scenes in between seem rather dull.

Instead of keeping a smile on my face from beginning to end, the truly toes-a-tapping parts of Hello, Dolly were a bit too intermittent. This itself isn't the fault of Light Opera Works, but while many of the actors and their voices were quite good, very few were transcendent and a couple even lagged.

So while both the source material and this production of Hello, Dolly are excellent, well worth your time and--especially via HotTix--your money, I wasn't quite as enthralled as I was hoping nor dazzled the way I was by Carousel. So though I mean it as a laudatory recommendation, I almost feel sheepish giving it just @@@@.

Still, it's nice to have Dolly back where she belongs. And all-in-all, looking swell.

Light Opera Works' Exquisite 'Carousel' Makes Initial Excusion A Very Merry Go-'Round

Theater Review

Carousel
a musical by Rogers and Hammerstein
Light Opera Works
Cahn Auditorium, Evanston
Thru August 29
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Rogers and Hammerstein's Carousel is probably the most famous and acclaimed musical--Time magazine named it the best of the 20th century--that I've never seen on stage at any level nor in its film version.

I've never purposely avoided it; I just don't remember ever being presented with an opportunity to see it in the last 10 years when I've avidly been going to musicals. But I guess my lack of familiarity is why I didn't really take notice of Light Opera Works' current production of it--despite loving almost everything I've seen there--and even after the Chicago Tribune's Chris Jones give it a four-star (out of 4) review, I still didn't instantly put it down on my calendar.

But the combination of seeing full-page ads citing additional rave reviews, a lack of other plans for Saturday night and half-price tickets available through Hot Tix (and Goldstar) made me get wise and decide to see the show.

I'm really glad I did. Despite only playing a total of 8 performances--a pittance next to other area musical theater companies of comparable quality, Marriott Theatre Lincolnshire and Drury Lane Oakbrook--the production was truly outstanding, with performances no worse than what I would expect to see in a touring Broadway production, or for that matter on Broadway or in London's West End. Sure, the carousel itself was a one-horse ride, but the scenery was more than sufficient, LOW's trademark full orchestra (with 30 musicians) sounded fantastic and the singing sounded note-perfect.

Photo from ChicagoTribune.com

The Tribune's Jones said he's only seen one better rendition of the 1945 musical and in an article separate from his review, he raves about the tonality that directly Stacey Flaster brings to a somewhat dark and tricky storyline--especially for a Rogers and Hammerstein musical.

I don't have anything to compare it to, but I doubt that any other incarnation could give me a better introductory appreciation of Carousel. This is really a sublime production and although the musical itself had only 1-2 numbers I knew well going in--"June is Bustin' Out All Over" and the graduation staple "You'll Never Walk Alone"--even by intermission, I clearly understood why the show is held in such esteem.

Unlike several pre-1950s musicals that seem to have book & continuity flaws that can make them feel particularly dated--as I mentioned about Annie Get Your Gun upon seeing it last weekend at Ravinia--not only is Carousel wonderfully tuneful throughout, but perhaps due to Flaster's take on it, the narrative holds up well in every sense, even when it gets a bit otherworldly. (I'll have to watch the movie soon for comparison's sake.)

Light Opera Works mainstay Natalie Ford was typically terrific as Julie Jordan and Cooper David Gordon, making his first Chicago area appearance, was outstanding as her flawed and ill-fated husband, Billy Bigelow. Particularly on "Soliloquy," a long and lyrically-intricate song that per its title is delivered unaccompanied, Bigelow showed that he really has a big-time voice. (Though a bit young, he should be great as Javert in Les Miz, which his credits indicate he'll soon be tackling as part of a national company.) And everyone in the major side roles--Elizabeth Lanza as Carrie, Winifred Faix Brown as Nettie, George Keating as Enoch Snow and Jeremy Trager as Jigger--gave sterling performances well-deserving of mention.
With a dark storyline, including domestic violence, nefarious scheming, death and adolescent angst, Carousel can't really be described as a merry musical. But with the 30-piece orchestra--including a harp!--punctuating a glorious Rogers & Hammerstein score, vibrant costuming (by Nikki Delhomme) and wonderful performances from a young, attractive cast, Flaster and crew deliver an exceptionally ebullient ride.

This is one go-'round you really shouldn't miss, but you only have two more chances, next Saturday & Sunday. But I'm already looking forward to LOW's Christmas production of another of the few musical classics I've yet to see on-stage, Hello Dolly. It'll be nice to back, because on the short list of the very best musical theater companies in Chicagoland, or anywhere for that matter, Light Opera Works--celebrating its 30th season--has once again shown that it clearly belongs.