Displaying items by tag: Erica Stephan

As a lifelong aficionado of the ill-fated ocean liner RMS Titanic, I’ve always gravitated toward any experience that would leave me feeling immersed in that famous moment of an era that nobody any of us knows anymore is alive to remember. I’ve watched every grainy, dated video interview with actual survivors of the shipwreck I can find on YouTube. I’ve even listened to audio rips of ancient vinyl interviews with others who were there and who lived. One of the several times I saw James Cameron’s Hollywood opus during its initial 1997 theatrical run was seated on the flooded floor of an overbooked movie house during a torrential rainstorm; it was like virtual reality, but way soggier!

I’ve learned all I can about the unfathomable chain of events that left the liner many fathoms below the Atlantic. And I’ve tried just as hard to learn about that long-gone period in which the wealthy crossed seas on boats instead of private jets, and immigrants did the same to an America that once welcomed them. But despite the books and the videos and the museum exhibits, April 15, 1912, seems as long ago as Gettysburg or the pyramids.

That’s why I truly appreciated and enjoyed the Marriott Theatre’s current run of Maury Yeston and Peter Stone’s Tony-winning Titanic: The Musical. Instead of awing me with titanic recreations of the floating behemoth like Cameron’s film or an array of sunken artifacts recovered from the seabed over two miles below, this production directed and choreographed by Connor Gallagher made me think about the things that were really lost on that calm April night. The somethings, actually. The someones. 1,517 someones.

Utilizing the Marriott’s theater-in-the-round setup, Gallagher lets his cast—the people on board the boat—bring this early-20^th-century story well into the 21^st. And what a cast he brings along for the cruise!

But first, we feasted. The Marriott has transformed its Three Embers Restaurant into the White Star Grill. Featuring food that would’ve been served to the passengers of the White Star Line’s crown jewel, the eponymous Titanic, I was already being time-warped back to 1912 before I’d set foot in the theater proper. Braised short rib. Wood fired lamb. Poached king salmon. Chicken lyonnaise. It was all food a gourmand of the time might have expected prepared as they sailed the Atlantic. And they would’ve approved of the Marriott’s take on the fare. What a way to start a night out!

Waldorf Pudding at the White Star Grill

As dinner digested, we met the folks who, in less than two hours, would either be among the 706 survivors of the disaster, or the more than twice as many who’d be listed among the dead.

Of course, there were the famous figures—famous in their time because of their social status and still famous because of their choice of transportation. There were Guggenheims and there were Astors. And just as rich, but as charming in their humility as they were onscreen and seem to have been in reality, were Isidor and Ida Straus, the elderly couple who co-founded Macy’s and who went down, together, with the ship. Mark David Kaplan’s Isidor was lovable, while his wife Ida, who’d loved him for over forty years, was played by Heidi Kettenring, whose vocal performances throughout the show were breathtaking.

Those known for the responsibility of Titanic’s existence and demise were well represented, as well. David Girolmo’s Captain Smith was as stoic and somber as the ancient mariner he already was on what was to be his final voyage after Titanic’s maiden trip. Christopher Kale Jones’ builder of the boat, Thomas Andrews, looked more haunted and heartbroken as the fate of his creation and himself sank in. And Adam Pelty played J. Bruce Ismay, head of the White Star Line, and as close to a villain as the story has, all business and bully and bluster as the boat makes its way toward the tale’s true villain, the iceberg.

Heidi Kettenring and Mark David Kaplan in Titaninc: The Musical at Marriott Theatre

But just as it was with the actual Titanic, the many other people along for the ride made the whole thing human, made it real, made us feel like we were there. If anyone could be called a hero in this story without any, it would be stoker Frederick Barrett, played by Darian Goulding. Goulding’s got the most fleshed-out storyline and maybe the most musical lines, too, and he makes the most of them with a wonderful voice and a way of portraying a guy from the days of coal-powered steam engines.

Another everyday person looking to make it across the pond is with-child Irishwoman Kate McGowan, played by Erica Stephan, who seems to fit into every role and production she’s part of. James Earl Jones II and Lillian Castillo also wow as American couple Edgar and Alice Beane who try to blend in with the other passengers, but who instead steal the spotlight with their own wonderful musical numbers. Another couple in love played by Francesca Mehrotra and Will Lidke were maybe my favorite vocalists of the evening, although Matthew Hommel’s dual roles as boy telegrapher Harold Bride and bandmaster Wallace Hartley reserved for him two of the evening’s best songs.

And, backing all of these varied performances and the ongoing score was as tight a Marriott orchestra as I’ve heard, conducted by Brad Haak.

When you head to Marriott Theatre’s Titanic: The Musical—playing now until June 1—you won’t find priceless trinkets plucked from the ocean floor, nor will you find lifelike walls of riveted steel. But you will find a lovely dinner followed by a truly immersive night to remember as you meet some of the people who lived, and who didn’t, on that calm Atlantic evening over 113 years ago.

*This review is also featured on https://www.theatreinchicago.com/!

I am from Miami, Florida and after moving to Chicago there was a time when I genuinely looked forward to the first snow of the year. I’d also wish for snowfall each year to bring us a white Christmas here in Chicago and this lovely production of ‘White Christmas’ at Theatre at the Center brought that joy back into my mind for the first time in years.

The story is about two servicemen, Bob (Matt Edmonds) and Phil (Justin Brill), who become big time entertainers after their army days. From performing in USO shows for fellow military troops during World War II to becoming a featured act on the Ed Sullivan show, the two pals are now looking for a "sister act".  It isn’t long before the two stumble upon Judy and Betty (both played wonderfully by Casiena Raether and Erica Stephan) and wind up not only finding two talented women to perform with but also finding true love. The tale is a timeless one thanks to Irving Berlin's classic music – and this cast does the book and lyrics of Berlin justice.

When Bob and Phil run across their old General, Henry Waverly (Neil Friedman), they happily offer to help out by lending their star presence by performing at his lodge in the hopes of attracting more guests. The retired General is on hard times having sunk his entire life saving into the lodge. Thankfully he has been keeping his head just above water thanks to the help he receives from his ever-loyal lodge hand Martha Watson (brilliantly played by Glory Kissel). It isn’t long before Bob and Phil enlist Judy and Betty and a host of fantastic dancers to put on the show of a lifetime at the General’s lodge. It is nothing short of touching to see the dedication Bob and Phil have towards General Henry Waverly.

I would totally see this production twice just to hear the everlastingly touching “How Deep is The Ocean”:

"How much do I love you? I'll tell you no lie

How deep is the ocean? How high is the sky?

How many times a day do I think of you?

How many roses are sprinkled with dew?

How far would I travel to be where you are?

How far is the journey from here to a star?

And if I ever lost you, how much would I cry?

How deep is the ocean? How high is the sky?"

“Blue Skies” was another showstopper with the entire cast tapping in blue and white to Irving Berlin's classic song about the very real exciting effects of new love taking place on the loving new couples:

"Never saw the sun shining so bright

Never saw things going so right

Noticing the days hurrying by

When you're in love, my how they fly

Blue days

All of them gone

Nothing but blue skies

From now on!"

(from lerft) Erica Stephan as Betty and Casiena Raether as Judy. Photo by Guy Rhodes

There was a palpable chemistry in the humorous courtship between the wry, dry Phil and slightly uptight and business-oriented Betty, which the whole audience picked up on and really enjoyed watching develop scene by scene.

Director Linda Fortunato is wisely able to draw out the fun in her own unique way from each song and also includes a few numbers cut from the motion picture, like "Falling Out of Love Can be Fun,” sung by Martha, Betty and Judy. The song gives the thoroughly modern advice, way ahead of it's time, that if you are heartbroken by one man you can pick yourself up and try again without shame.

"When you've find your lover has gone

Get your second wind and go on

There's an old affair that is there for renewing

In your grief, do you know what you're doing?

Falling out of love can be fun

Soon, you'll be swinging in a hammock on a porch

One arm wrapped around someone else

The other arm carrying a torch

Love can give a lady a clout

And she may be down but not out

Get yourself a date, don't you wait for the count of ten, then

Falling out of love can be fun!"

Talented Artistic Director Linda Fortunato wears multiple hats not only directing this production but providing its dazzling choreography. William Underwood gives this show its musical direction. 

Special kudos must go to Glory Kissel as the rowdy Senior hotel concierge for her entire performance and especially the showstopper "Let me Sing, I'm Happy." Kissel shows the youngsters in the cast just how it's done with her amazing dance and superb physical comedy skills while singing out about the pure Joy of being alive and happy.

The super talented ensemble blows everyone away with one fantastic tap or dance number after another.

It is truly thrilling to watch all those tapping feet moving in perfect unison. Other great numbers include “Heat Wave,” “I Love a Piano” and of course, the title song “White Christmas”, a song that Matt Edmonds sings to perfection as he captures the period so well with both his singing and acting.    

I can't recommend this production highly enough for audiences of all ages who are looking for a happy, fun-filled and joyous celebration of LOVE and of course SNOW, during this cold and oft-strenuous Holiday season. 

‘White Christmas’ is being performed at Theatre at the Center in nearby Munster, IN through December 22nd. For more information visit www.theatreatthecenter.com.

I loved the Disney version of Beauty and The Beast on the big screen and I think children who have been wowed by the movie version will also be wowed by Drury Lane Theatre’s sumptuous stage production as well. Director Alan Souza and choreographer Ron De Jesus pull out all the stops and keep these characters on the run with a high tech revolving set of staircases overlooked by an enormous glowing rose which we all know is counting down the time The Beast has left to woo Beauty and tame his childish self-centeredness in order to release his entire kingdom from the spell cast when he meanly turned away a magic spirit disguised as a poor old crone. 

Drury’s “Beauty and the Beast” contains super solid vocal and comedic performances from ALL of the supporting players in this show, getting superb contributions from characters Lumiere (Tony Carter), Cogsworth (Nick Cosgrove), Babette (Sierra Schnack), Mrs. Potts (Bri Sudia) and her son Chip (Sophie Ackerman), Madam de la Grande Bouche (Catherine Smitko) and Monsieur D’Argue (Billy Rude). 

The magnificently designed, flattering "glow in the dark" period costumes by (Ryan Park) really pop visually and move with each performers while giving you the sense that each person is truly "trapped" in the role of what they did or worked as when the spell was cast, just as many of us feel we are in daily life by our job roles. 

Delightful songs fill the theatre throughout this masterful production. “Be Our Guest” is a true showstopper that, with so many talented dancers, comedians and the brilliantly designed and colorful amazing costumes swirling up and down the ever moving staircases, it makes the whole audience want to race down to the stage and urge Belle to join the Beast for dinner.

Erica Stephan as Belle gives us a gutsy yet sensible and very intelligent portrayal of "Beauty" and little girls will love how she sticks to her guns when insisting that the Beast act like a gentleman and not a bossy, somewhat unmannerly boyfriend. 

Brandon Contreras is a moody, dark version of the Beast but his shy sense of humor and triumphantly rich vocal range make his performance one that takes a while for Belle to warm up to but finally endears him to her and the audience, as his complex emotions for Belle finally shine out when he is able to make tender his actions AND words towards her. 

Mrs. Potts (Bri Sudia) is another character actress who has an amazing vocal range and her songs are deserving of special notice because they are so well delivered vocally along with her gift for physical comedy.

The play’s nemesis, Gaston, played by Mark Banik is a suitably sexist but not too scary Gaston and delivers some great physical comedy as well. 

It's true that this story like many fairytales starts out with a beautiful yet intelligent heroine with two equally awful men to choose from (or run from in this case) and ends up with marriage to a Prince as the end goal. But at least "Beauty and The Beast" requires the complete transformation of one of the "beasts" chasing after her hand in marriage into a man deserving of her love instead of a brute that she must endlessly battle for respect. 

As one of the best all-around productions I've seen in a long time, I highly recommend this stunning, exciting and fast-paced musical to young and old alike this Holiday Season. I was blown away by visually stunning set and the tremendous talent assembled for this show and I think you will be, too. 

“Disney’s Beauty and the Beast" will be performed at Drury Lane Theatre in Oakbrook through January 27th. www.drurylanetheatre.com

Guys, it’s time to dig into your closet and shake the dust from your polyester, large-collared, chest-exposing dance shirt. Divas, grab your sequin-studded blouse and bell-bottomed slacks or favorite jumpsuit – it’s time to disco! Drury Lane Theatre in Oakbrook hosts an electric 1970’s dance party to remember with their current production of Saturday Night Fever the Musical. Following the 1977 hit film that catapulted John Travolta to superstar status for his portrayal of Tony Manero, a troubled kid from The Bronx who finds escape from his dilemmas by lighting up the dance floor on Saturday nights, we are thrust into an exciting time capsule when disco was king.

As the story goes, Tony, who works a dead-end job in a hardware store, just wants to be somebody. And he is – on weekends. He just wants to dance! He’s got the hair, good looks, charisma, and dance moves that make him an instant celebrity whenever he walks into 2001, the neighborhood disco hotspot, all the girls lining up to partner with him, all the guys wishing they had half his talent. With a couples’ dance contest coming up that awards a cool thousand bucks to the winning team, Tony searches for a partner, of course seeking out the one girl who is not overly impressed with him. Saturday Night Fever the Musical, keenly directly by Tony-nominated Dan Knechtges, is a well-rounded story that delves into Tony’s stereotypical New York Italian home life, his life on the streets hanging out with his close-knit gang and his quest for love, that, for once, doesn’t come so easy. Adding a humorous spin to the classic film, this dazzling production offers a good amount of laughs while holding onto the integrity of the film. 

The music is half the fun. While the soundtrack is heavily driven by the music of The Bee Gees implementing favorites like “Staying Alive”, “How Deep Is Your Love”, “More Than A Woman” and “Jive Talkin’”, were also turned onto other disco staples that include “Boogie Shoes”, Disco Duck” and “Disco Inferno”. And as good as the music is, the dancing is just as impressive, getting spectacular individual and ensemble performances that make it difficult for audience members to restrain from taking the stage and join in the disco celebration, also encouraged by the tremendous set that recreates a captivating 1970’s dance club – strobe light, red velvet walls and all. 

Adrian Aguilar is seemingly made for the role of Tony Manero. The Jeff Award nominated actor who once starred as Rocky Balboa in Broadway’s Rocky, is nothing short of sensational. The search for the perfect Tony was widespread, with auditions held in not only Chicago but also New York, Houston and Los Angeles, and it was right here in Chicago that the production found its seamless fit. Says Kyle DeSantis, President of Drury Lane Productions, “Out of the many talented artists we saw, no one came close to Chicago’s unparalleled Adrian Auguilar as Tony.” And DeSantis could not have been any more correct as Aguilar delivers a strong performance bringing with him the comic chops and astounding dancing ability needed for the role. Aguilar is also able to tackle the demanding vocals required to take on the many numbers to which his character is highlighted and adds just the right amount of dramatic precision that give us a believable Tony Manero. 

Aguilar, whose dynamite performance is worth the cost of admission alone, is surrounded by a heaping helping of talent. Landree Fleming, who recently knocked the socks off of theatre goers in her performance as Kira in American Theater Company’s Xanadu, is back, this time delivering solid support as Manero’s clingy wannabe girlfriend Annette, while Erica Stephan does an admirable job as Stephanie, the dancer who has captured the starry eyes of our story’s star. Making his Drury Lane debut is standout actor Alex Newell, best known for his portrayal of transgender student Wade “Unique” Adams on Fox’s hit series Glee. Newell is rightly cast for the role of Candy, a disco diva who truly belts, delivering a handful of drop-your-jaw moments. In Saturday Night Fever the Musical, we also get a consistently strong boost from an ultra-talented ensemble that is not only able to bring a disco to life on several occasions, but can add credible depth to this classic story thanks to a slew of strong acting and vocal performances. Yet we cannot overlook Ryan O'Gara's stunning lighting design (disco ball included) and Rachel Laritz' spot on 1970's costume design that so well breathes life into Kevin Depinet's lavish red-velvet laden set. 

This new, reworked North American version, scripted by Sean Cercone and David Abbinanti adds even more style and flair to an already stage proven production that made waves after its London mount in 1998 and invaded America with a Broadway run in 2000. An era of pop culture poked fun of so often (and a handful of parodies are certainly present in this production), this is a musical that also celebrates disco and reminds us of the pivotal part it played in our musical history and of its ever-perpetual influence that remains.  

Saturday Night Fever the Musical pulls out all the stops, delivering a show that has it all – dancing, singing, visuals and humor, while distributing a plethora of 1970's nostalgia. Songs you may have long forgotten will be stuck in your head days afterward – in a good way. Running at Drury Lane Theatre through March 19th (now extended through April 9th), this is a production that is sure to bring the boogie out in each of us no matter how buried inside it may be.

Recommended.

For tickets and/or more show information, click here.