Displaying items by tag: Mary Grace Martens

BrightSide Theatre’s The Producers storms into Meiley Swallow Hall with the kind of swagger only Mel Brooks can inspire: brash, brazen, and blissfully unconcerned with good taste. From the moment the lights rise, the show charges ahead with a manic momentum that feels both affectionately old school and sharply self-aware. It knows exactly what it’s here to do: go big, go bold, and never apologize for the mayhem.

Under the confident direction of Artistic Director Jeffrey Cass, this staging taps directly into Brooks’ outrageous, boundary-poking sensibility and never loosens its grip. Cass understands that The Producers thrives when its humor teeters on the edge, and he captures that gleeful imbalance with remarkable control. The original film premiered in 1967, the musical exploded onto Broadway in 2001, and if anyone wonders whether that brand of audacity still lands in 2026, the answer is an unequivocal yes. The Naperville audience laughed steadily from the first scene to the curtain call, proving that Brooks’ anarchic wit remains timeless.

BrightSide’s version brings the show’s wild premise to life with full comic force: washed-up Broadway producer Max Bialystock (Scott Kelley) and anxious accountant Leo Bloom (Michael Metcalf) concoct a get-rich-quick scheme to stage the biggest flop in theatre history. If the show collapses on opening night, they can pocket the investors’ money and disappear. Their hunt for guaranteed failure leads them to the worst script imaginable, the most misguided director in town, and a cast so spectacularly wrong that success seems impossible. But in classic Brooks fashion, the plan detonates in the most unexpected way, turning their surefire disaster into an accidental triumph and leaving the pair scrambling to survive the fallout.

That spirit of intentional ruin pulses through the musical numbers, each one another attempt to engineer catastrophe. “Springtime for Hitler,” the show-within-the-show’s notorious centerpiece, is crafted as an overblown, tasteless pageantry meant to repel audiences instantly. “Der Guten Tag Hop Clop” and “Haben Sie gehört das Deutsche Band?” push the absurdity even further, spotlighting a playwright and director whose delusions should have doomed the project. Even “Keep It Gay,” with its flamboyant insistence on excess, is part of Max and Leo’s strategy to stack the deck with choices so misguided they can’t possibly succeed. Ironically, the songs are so bold, so shamelessly theatrical, and so cleanly executed that the very elements meant to sink the show end up turning it into the hit they never wanted.

Scott Kelley’s Max Bialystock and Michael Metcalf’s Leo Bloom make a terrific duo, striking a lively balance between showmanship and panic. Kelley barrels through the role with larger-than-life bravado, while Metcalf’s tightly coiled nervousness plays off him beautifully. Their timing is crisp, their rapport effortless, and together they elevate every scheme, meltdown, and misstep.

Max Bialystock (Scott Kelley) and Company.

Amelia Tam is outstanding as Ulla, the blonde bombshell Max hopes to lure to his “casting couch”. She is an amazing dancer with an equally outstanding voice, commanding attention the moment she steps onstage with a blend of radiant charm and razor-sharp comedic instinct. Her Ulla rises far above the familiar Swedish ditzy-blonde trope, becoming a spark of vitality who shifts the temperature of every scene she enters. Tam mixes wide-eyed innocence with sly intelligence, making each line land with extra bite. Whether stretching a vowel for comedic payoff or launching into “When You Got It, Flaunt It” with fearless gusto, she turns Ulla into a character who is not only irresistible but essential to the show’s rhythm.

The supporting cast is uniformly strong, powered by an ensemble that moves with clarity (credit to choreographer Mary Grace Martens), hits its jokes cleanly, and fills the stage with infectious confidence. Cheryl Newman shines as one of Max’s elderly ‘investors,’ delivering sharp comedic work while also contributing behind the scenes as costume designer - a pair of responsibilities she handles with impressive finesse. Michael John Lynch brings delicious flair to Carmen Ghia, the impeccably mannered yet cutting assistant whose every gesture blends elegance and threat. Myles Mattsey is memorable as Franz Liebkind, the unhinged playwright whose patriotic fervor is both alarming and hilarious, while John B. Boss transforms director Roger DeBris into a gleaming spectacle of theatrical excess. Together, they form a gallery of eccentrics who keep the show’s momentum high and its humor constant.

All the while, Phil Videkis provides excellent musical leadership, guiding the orchestra with crisp pacing and keeping the score bright, tight, and perfectly attuned to the show’s comic sensibility while supporting Thomas Meehan’s book with well-judged musical choices.

The staging makes clever use of an economical but highly effective set designed by Ariel Mozes, shifting smoothly from location to location without ever feeling limited. What the physical scenery lacks in large-scale opulence, it compensates for with smart configuration and adaptability, allowing the story to move quickly while keeping the focus on the performers. Enhancing that versatility is a programmable LED backdrop that becomes one of the production’s most dynamic tools, transforming into windows, rainbows, bursts of color, or even spelled-out words that heighten key moments. Together, Mozes’ resourceful design and the vivid LED wall create a surprisingly rich visual world that expands far beyond the modest footprint.

BrightSide Theatre once again demonstrates a sharp eye for material, adding The Producers to its growing list of savvy, crowd-pleasing selections. This staging delivers everything a Mel Brooks musical should: big laughs, confident performances, and a joyful sense of mischief that never lets up. It’s a lively, high-spirited evening that embraces the show’s outrageous personality while still finding its own clever touches along the way. This musical comedy is highly recommended, playing through June 28th at the Theater at Meiley Swallow Hall, an ideal summer outing for anyone craving a night of bright, unapologetic fun.

For tickets and/or more show information, visit https://brightsidetheatre.com/producers/.

If you’ve ever wondered what would happen if a glam-rock concert, a sci-fi B-movie, and a drag ball collided in a castle during a thunderstorm—The Rocky Horror Show Live has your answer, and it’s wearing fishnets.

The Rocky Horror Show Live is a glitter-drenched, gender-bending, sci-fi rock ‘n’ roll romp that turns theater into a wild party. Expect corsets, chaos, and a whole lot of “Time Warp” madness. This madness has now made its way to Naperville – Brightside Theatre to be exact.

When prim-and-proper sweethearts Brad Majors and Janet Weiss find themselves stranded in a thunderstorm, their search for shelter leads them to a looming, otherworldly mansion - a castle pulsing with secrets, sequins, and scandal. What begins as a pit stop quickly spirals into a surreal plunge down the rabbit hole of desire, decadence, and intergalactic mischief.

Inside, they meet the castle’s master of ceremonies: Dr. Frank-N-Furter, a gloriously flamboyant, corset-clad scientist who struts with the swagger of a rock god and the flair of a cabaret queen. Hailing from the distant planet of Transsexual in the galaxy of Transylvania, Frank is in the midst of unveiling his latest experiment - a living, breathing Adonis named Rocky, sculpted from muscle, myth, and pure libido. With golden locks and glistening abs, Rocky is less Frankenstein’s monster and more a pin-up fantasy brought to life.

As Brad and Janet’s innocence begins to unravel, the castle transforms into a playground of provocative floor shows, alien revelations, and boundary-blurring seductions. The air crackles with glam-rock anthems, pelvic thrusts, and a deliciously campy celebration of everything taboo. Gender norms are tossed aside, sexuality is fluid and fearless, and the audience is swept along in a glitter-drenched whirlwind of liberation and lunacy.

It’s not just a descent - it’s a transformation. What starts as a dark and stormy night becomes a kaleidoscopic journey into the heart of pleasure, identity, and unapologetic self-expression. And by the time the curtain falls, Brad and Janet - and everyone watching - are forever changed.

From left to right Frank-n-Furter (John McNally), Brad (Michael Lynch) and Janet (Brooke Kassal).

Brightside delivers a dazzling revival of this cult classic, transforming the stage into a riotous playground of glam, grit, and glorious excess. With a knockout cast and inventive use of props, the production doesn’t just invite the audience into Dr. Frank-N-Furter’s castle - it plunges them headfirst into its glittering heart, where every velvet curtain and pelvic thrust feels like an invitation to mischief.

John McNally is an absolute revelation as Dr. Frank-N-Furter, commanding the stage with a magnetic blend of sensuality, sway, and razor-sharp wit. From the moment he slinks into view, clad in fishnets and attitude, McNally’s presence is undeniable - he doesn’t just enter the scene, he devours it. His performance pulses with a deliciously understated sexiness, balanced by theatrical bravado and a knowing wink that keeps the audience hanging on every gesture. Whether crooning through “Sweet Transvestite” or orchestrating the castle’s chaos, McNally delivers a masterclass in camp charisma.

Brooke Kassall lights up the stage as Janet Weiss, infusing the role with vocal brilliance and comedic precision. Her transformation from wide-eyed ingénue to liberated vixen is a joy to watch, and she navigates the character’s emotional arc with both heart and hilarity. Kassall’s timing is impeccable, her voice crystalline, and her physicality sharp.

Michael Lynch, as Brad Majors, is pitch-perfect in his portrayal of the uptight, earnest fiancé caught in a whirlwind of glitter and temptation. Lynch leans into the camp with gusto, delivering his lines with just the right mix of sincerity and absurdity. His vocal moments land with strength and clarity, and his chemistry with Kassall adds a layer of authenticity to the madness unfolding around them.

Together, this trio anchors the production with energy, nuance, and a confident embrace of the show’s outrageous spirit.

Scott Kelley delivers a pitch-perfect performance as the Narrator, wielding deadpan delivery like a scalpel and slicing through the chaos with dry wit and subtle nuance. His timing is impeccable, his tone delightfully sardonic, and his ability to anchor the madness with a raised eyebrow or a well-placed pause makes him the ideal guide through this glitter-drenched fever dream. Kelley doesn’t just narrate—he punctuates the production with comedic finesse, offering a steady stream of meta-humor that keeps the audience both grounded and giggling.

One of the most inspired casting choices in the show is Mary Grace Martens in the dual roles of Eddie and Dr. Scott - a double act that showcases her range, charisma, and comic chops. As Eddie, Martens bursts onto the scene like a rock ‘n’ roll cannonball, delivering a hilariously unhinged performance that’s equal parts punk energy and vaudevillian flair. Her physicality, vocal grit, and sheer commitment to the chaos make Eddie’s brief but explosive appearance unforgettable.

Then, in a brilliant pivot, Martens reemerges as Dr. Scott, trading leather and rebellion for tweed and gravitas. Her portrayal is spot-on, capturing the character’s stiff demeanor and scientific earnestness while still mining the role for laughs. The contrast between the two characters is a testament to Martens’ versatility - she doesn’t just play two roles, she inhabits two worlds, and does so with style, precision, and a wink to the audience.

When opportunity came knocking, Charlie Kungl didn’t just answer - he flung the castle doors wide open and stormed the stage with a performance that was nothing short of electrifying. Originally cast as one of the Phantoms, Kungl stepped into the role of Riff Raff with fearless precision, filling in for Thomas McMahon and transforming the castle’s creepy handyman into a scene-stealing force of nature. From the moment he slithered into view, Kungl embodied Riff Raff’s eerie elegance and twitchy menace with uncanny style, layering in just the right amount of weirdness, wit, and vocal prowess.

His performance in “Over at the Frankenstein Place” was hauntingly beautiful, and his contributions to “Time Warp” were delivered with such gusto and vocal strength that the audience couldn’t help but be swept into the madness. Kungl delivered one of the most memorable turns of the night.

Playing opposite Riff Raff as the sultry and sardonic Magenta is Michelle Bolliger. Bolliger brings a sly humor and smoky vocal tone to the role, delivering her lines with a delicious blend of deadpan and mischief. Her chemistry with Kungl added a layer of twisted charm to the castle’s eerie ambiance, and her vocal work - especially in ensemble numbers - was smooth, confident, and richly textured.

From left to right Eddie (Mary Grace Martens), Frank-n-Furter (John McNally) and Columbia (Collette Michelle).

Ben Chalex delivers a standout turn as Rocky Horror, infusing Frank-N-Furter’s golden-haired creation with a magnetic blend of innocence, physicality, and comic ability. From his shimmering entrance in gold lamé to his wide-eyed reactions and expressive vocals—especially in “The Sword of Damocles”—Chalex elevates Rocky beyond caricature. He brings surprising emotional depth and impeccable timing, making Rocky not just a lab-grown fantasy, but a breakout presence bursting with kinetic charm and comedic gold.

Rounding out the cast with flair is Collette Michelle, who shines as Columbia with a vibrant mix of vocal prowess and comedic sparkle. Her performance surges with energy, capturing Columbia’s manic charm and showgirl sass to perfection. Michelle even delivers a crisp, crowd-pleasing tap routine that seals the deal—she’s a triple threat with glitter to spare.

The ensemble of Phantoms brought a vibrant pulse to the production, serving as Frank-N-Furter’s pleasingly twisted entourage with flair and finesse. These talented performers didn’t just dance - they slinked, strutted, and seduced their way across the expansive three-quarter thrust stage, turning every corner into a playground of provocative movement – including the aisles. Their presence added texture and tension, amplifying the castle’s decadent atmosphere and ensuring that Frank’s every whim was met with theatrical devotion and dazzling spectacle.

Under the sharp direction of Jeffrey Cass and the spirited musical guidance of Phil Videckis, The Rocky Horror Show Live at Brightside Theatre explodes with vigor, irreverence, and irresistible charm. This production doesn’t just break the fourth wall - it invites the audience to dance through it, shout back at it, and throw Scott’s toilet paper at it. With highly encouraged audience participation that leaps at every campy cue and innuendo, the show becomes a shared spectacle of chaos and delight. It’s a glitter-drenched, fishnet-clad thrill ride that’s tailor-made for the Halloween season - and absolutely unmissable for fans of theatrical mischief.

Highly Recommended.

The Rocky Horror Show Live is being preformed at Theater at Meilly-Swallow Hall through November 9^th. For tickets and/or more show information, visit https://brightsidetheatre.com/the-rocky-horror-show/.