Displaying items by tag: McKinley Carter

I thoroughly enjoyed this colorful, sumptuous, and romantic production of Rogers + Hammerstein’s Cinderella at The Drury Lane Theatre from beginning to end.

Directed and choreographed with lively and complex numbers by Amber Mak, with musical direction by Carolyn Brady, I felt that the spirit and female empowering themes of the original Cinderella were kept intact. Cinderella is the unlikely and supernatural story of a girl who is treated like a house servant once her stepmother takes charge after her well-to-do father passes away. No longer protected by her father, Cinderella is at the mercy of her resentful stepmother and her two stepsisters. But much to the chagrin of the stepmother, Cinderella’s inner beauty and strong character does not go unnoticed by the kingdom’s prince, who is seeking a bride.

Lissa deGuzman as Cinderella is a genuine delight as the sensitive and "unique" Cinderella. deGuzman has a beautiful voice and really captures the innocence and ingenuity that Cinderella is supposed to exude. The chemistry between her and Prince Topher, played by Jeffrey Kringer, was palpable and they have several romantic embraces and kisses that might have fallen flat if not for their genuine chemistry onstage. Jeffrey Kringer is a multifaceted Prince with a strong masculine yet sensitive presence as the handsome but confused Prince who is forced by his Viceroy to choose a Queen to marry. Viceroy Sebastian is played with good humor by Jeff Parker.

What I liked about this version of the classic tale is that it included the extended storyline wherein Cinderella is not just a victim of her greedy stepmother and a discovery of the Prince, she actually helps the entire village and the prince resolve a longstanding situation regarding the growing starvation and taxation of his subjects and the Royal families reluctance to address these issues fairly until Cinderella asserts herself and is able to open the prince’s eyes. The prince then deems the kingdom as a village of the people and uses their voice to make decisions regarding its management. 

Cinderella's stepsisters, Gabrielle (Christine Mayland Perkins) and Charlotte (Alanna Lovely) were at first ugly on the inside though some people can change as seen by Gabrielle’s lovely extended storyline where she and her secret boyfriend, Jean-Michel (Christopher Llewyn Ramirez) a villager who cries for fairness among the people, end up helping Cinderella to escape the grasp of the abusive gold digger, Madame/Stepmother, masterfully played by Gisela Adisa. Gabrielle, spoiled and bratty at first, turns out to be very sweet and her evolving character is played with glowing depth by Christine Mayland Perkins, who also lands several funny lines to perfection. 

I also have to acknowledge the superb performance by veteran actress McKinley Carter as the Fairy Godmother named Marie. It isn't until Carter's appearance as the wise and beautiful Fairy Godmother who leaves her beggar woman rags behind and sings the song "Impossible" that the young cast seemingly melts into cohesion and radiates collectively.  At the same time, we as an audience then get our first glimpse of the magical power of falling into true love thanks to Carter’s majestic voice and sparkling smile, conveyed as only a mature award-winning actress can pull off. 

I really enjoyed the flowing and heartfelt group dance numbers by the talented ensemble cast including Emily Ann Brooks, Leah Casey, Sophie Liu David, Margot Frank, Dani Johns, Kevin Kuska, Austin Nelson Jr., Justin Payton Nelson, Nolan Robinson, Elizabeth Romero, David Sajewich, Brian Selcik, Andew Tufano, Shelbi Voss, Amanda Walker.

My favorite songs next to "Impossible" include the adoring duets between Prince Topher and Cinderella "Do I Love You Because You’re Beautiful”, “Now Is the Time” and (I Held You) "10 Minutes Ago," which had a great sense of youthful, loving urgency and graceful romance. I only wish they had included the Disney film song "So this Is Love,” as it is recognizable to audiences of any age and to me represents the ultimate love song between the Prince and new Princess that marks their first dance together as a newly smitten couple falling in love for the very first time. 

Riw Rakkulcon’s scenic design is a tiny bit dark but very large in its scope and complex changes. It is luxurious and grand when it needs to be so you really feel that the castle is a castle. I also enjoyed the way the carriage and horse men portrayed the journey to the castle as even Cinderella needs a ride to attend the ball. 

I loved the costumes by multi–Jeff Award-Winning Theresa Ham for everyone in the cast except perhaps for Cinderella. The unique classic style and colorful well-fitting gowns and tuxedos etc. for the ensemble were very well done and varied. The only problem I had with Cinderella's costume changes was with the big reveal when the Fairy Godmother tells her it is not impossible for her to attend the ball and gifts her with a ticket and gown. The effect to do this this was impressive, Cinderella spinning her way from rags to ball dress, though the dress could have been more fairytale-esque. However, to Ham’s defense, in order to make this "magical" change onstage in full view of the audience, Cinderellas magnificent ball gown needed to be hidden under her day dress and as such lacked the largesse and sparkling, puffy wedding gown feeling that little girls have come to expect from that scene. 

With plenty of humor, impressive special effects, brilliant set and costume design and led by sensational performances from Gisela Adisa, Lissa deGuzman, Jeffrey Kringer, McKinley Carter, Alanna Lovely, Christine Maryland Perkins and Jeff Parker, I highly recommend this lush and well-acted and beautifully danced and sung production of Cinderella for audiences of all ages. Rogers + Hammerstein’s Cinderella at Drury Lane is a show that will lift your heart for the holidays and make you believe that finding true love and making it work is most definitely possible! 

Rogers + Hammerstein’s Cinderella is being performed at Drury Lane in Oakbrook through January 7^th. For tickets and/or more show information, please click here.

Ever since my folks saw the Tony-winning production of Big River on Broadway when I was little and brought home the soundtrack on vinyl, the Roger Miller-penned musical has been my favorite. It not only acted as a gateway for young me to become a fan of Broadway, but it also introduced me at an early age to Miller’s and others’ classic songwriting, and to the story of Huckleberry Finn that I’d then revisit so many times in classrooms and libraries and pop culture. So, I’m always excited when there’s a production of the show, all these years later.

I was especially excited when, a few months back, I learned of Big River’s current production—now through June 11—at Mercury Theater, who have become one of my favorite companies in the past couple years, for their talent, for their show selection, and for the joy and heart that go into each of those shows. This production, by Mercury’s Artistic Director Christopher Chase Carter, did not disappoint.

The theater itself is always charming—a turn-of-the-century silent movie house ready to transport you someplace else. The set, 19^th-century Missouri on the banks of the Mississippi, by Jacqueline and Richard Penrod, completed the time travel. And as the show began, so did the narrators—Marcus Jackson (as charming as he was last year in Mercury’s Priscilla) as Mark Twain and newcomer Eric Amundson as Huck. The setting, Marquecia Jordan’s costumes, and the grounding that this is, in fact, an old-timey story do nothing to take away from said story’s timelessness or its lessons for today.

Quick note on Huck Finn’s datedness—one choice for any production of Big River is whether or not to incorporate Twain’s original language. This production does so, which was initially shocking. But, not to speak for the director’s intent, I think that was the point.

Amundson is a strong lead—his vocals stronger than many Hucks I’ve heard, especially on “Waitin’ for the Light to Shine”—and a charismatic Finn, boyish but in command of the stage. He harmonizes beautifully with Twain’s and Big River’s other protagonist…and as any great production of this show needs, it’s his friend Jim who’s the real star.

That star here is Curtis Bannister. Bannister truly takes command of the stage—most of the time on the raft the two share, or on various river islands along their journey—with his presence, but also with his voice. The orchestra, conducted by Marques Stewart, slows the tempo of the show’s songs just a touch, making them slightly more soulful and less showtuney than Miller’s original. This plays into Bannister’s singing strengths, letting him investigate and investigate each song’s melody.

And what songs they are— “Muddy Water,” “River in the Rain,” and “Worlds Apart” are duets he shares with Amundson where their voices seamlessly mix, while Jim’s “Free at Last” beautifully ends the show, accompanied by members of the ensemble playing those still enslaved, still seeking freedom.

Perhaps the vocal highlight of this show is by ensemble member Isis Elizabeth, who turns the schoolmarmish hymn “How Blest We Are” into funereal gospel. Perhaps the most timeless of the songs here is “Guv’ment,” a screed against everything that wouldn’t be out of place in right-wing or reactionary media. Huck’s Pap is played less over-the-top and boisterous, by David Stobbe, than any other Pap I’ve seen. He didn’t play for laughs as much as for sympathy—it worked for me—but he completely went for the laughs as the King, who, accompanied by Gabriel Fries’ Duke, gives the show some levity at its darkest moments, their malaprops and Shakespearean gobbledygook and medicine show shenanigans a lot of fun.

The rest of the ensemble is every bit as great as casts at the Mercury always are. Cynthia Carter—who I’ve long enjoyed in Chicago theater; seriously, if her name is on the playbill I know I’m in for a good show—provides beautiful vocals. McKinley Carter—last seen as Mrs. White in Mercury’s Clue—is a character, as always, as Miss Watson. Amanda Handegan’s Mary Jane brings heartbreak to her songs. Callan Roberts’s Tom Sawyer is the aw-shucks fun and adventure that Twain first explored in that boy’s book. And March Marren brings slapstick and charm to their roles as Jo and the Young Fool. As good an ensemble as you’ll find, which is what I’ve come to expect at the Mercury Theater.

And this production, overall, is what I’ve come to expect at the Mercury Theater—a new like at a classic work, featuring Chicago’s finest talents sharing their voices, their creativity, their joy, and their soul, which they will be doing from now through June 11.

Tribute shows are generally as good as the performers that star. I probably just stated the most obvious fact on the planet. Yet it’s so very true. No matter how good the song selection, the costumes, the set, it is the vocal performance that we bring home with us. In “My Way: A Musical Tribute to Frank Sinatra” a different taste of Sinatra is delivered; rather than presenting an Ol’ Blue Eyes impersonator, we are invited to a 1960’s club setting where four actors casually reminisce with the audience over more than fifty Sinatra favorites. 

The musical revue, rich in its depicted era, stars George Keating, Christine Mild, Eric A. Lewis and McKinley Carter, each taking turns riffing through classics like “Makin’ Whoopee”, “Fly Me to the Moon”, “The Best is Yet to Come”, “Young at Heart”, and “It was a Very Good Year” – the songs are countless. The four have made their mark in the Chicago theatre scene, Lewis a Jeff Award Winner for his work in Porchlight Music Theatre’s “Dreamgirls”, Mild, who not only starred in Theater at the Center’s “Pump Boys and Dinettes” but who has recently released her debut solo album “Love Is Everything”, Carter, who has done work in prestigious venues such as Writers Theatre and Drury Lane Oakbrook, and Keating, who not only has been featured in Disney’s “The Little Mermaid” at Paramount Theater, but is the co-founder of the very popular Chicago and Off-Broadway hit “Schoolhouse Rock Live”. 

The four actors work well together as snippets of Sinatra songs are often worked into light exchanges between the characters. They gracefully glide around the stage and upon the stairways often pairing elegantly for dance routines. Often, the characters might be seen having a drink at the bar or nonchalantly interacting at a table, setting a relaxed night-out-on-the-town mood. Throughout the show, Sinatra factoids and quotes are tossed about during song breaks, allowing at times for the audience to participate. The club centers around a bar, where a live band simplified to piano (William Underwood), bass (Jake Saleh) and drums (Nick Anderson) plays directly behind it. Despite the small size of the outfit, the sound is big and the musicians ever-impressive, each getting to show their skills off a bit while briefly featured individually in the second act. 

While perhaps wishing for a little more "oomph" overall in the individual vocal performances (mainly on the lower notes) ala Sinatra, each of the performers have their shining moments and are able to deliver the songs with their intended pizzazz and vigor. But the magic in this show is when the four would sing together, whether it be a duet or a four-part harmony. It is with these synchronized vocal efforts one easily loses themselves in the beauty of Sinatra’s work. 

Brenda Didier both directs and choreographs this fascinating piece with a stylish aplomb that captures the charm of the period so very well. Lewis particularly stands out during his renditions of “My Kind of Town” and “I’m Gonna Live ‘Til I Die”, while Keating finishes strong with a fervent version of “That’s Life”. The production flows at a nice pace and is a pleasing homage to Sinatra, though we are often teased with a song segment left wanting to hear the piece in its entirety. This is countered by the fact that we are given such a vast collection of the music Sinatra made famous. The show ties together well eventually leading us to an expressive interpretation of perhaps Sinatra’s most timeless classic, “My Way”, commendably performed by the entire cast. 

“My Way: A Musical Tribute to Frank Sinatra” is a time capsule that will certainly touch the hearts of “Chairman of the Board” fans, but is equipped with enough nostalgia, panache and musical talent to please even the most curious. This polished production is being performed at Theater at the Center in Munster, IN through March 19th. Click here for tickets and/or more show information.   

When it comes to an engaging mystery thriller, the need for finely-written, well-executed twists, turns and the unexpected are imperative. Afterall, a good suspense story on stage that has the ability to genuinely captivate its audience members can be one of the most enjoyable theatrical experiences we can have. In Drury Lane’s current production Deathtrap, we get just that. Deathtrap, written by Ira Levin in 1978 and later becoming a film starring Michael Caine and Christopher Reeve, is a whodunnit that pulls you in keeps you guessing so that just when you think you’ve figured it out, another curveball is thrown.

Upon entering the theatre, we are met with the interior of a Victorian house with a rustic interior. Swords, poster tins of plays and antiques such as Houdini’s handcuffs and collectible pistols decorate the walls and shelves. When looking closely, it appears the way the rafters are cut suggest we could be looking into a massive trap. 

It all starts when a theatre professor, a former flourishing playwright, Sidney Bruhl, takes notice of a play written by one of his students, Cliff Anderson. It’s brilliant - a sure fire hit. It’s been a looooong time since Bruhl has had a successful play and there is no reason to think he is on the brink of anything else that could make waves in the theatre world. When Bruhl promptly invites Anderson - along with his single transcript - to his country home where he lives alone with his wife, Myra, the suspense begins and only thickens as we wonder if Sydney is capable of murdering for a hit show. The well-written dialogue keeps one on edge, moving back and forth from friendly banter to that of a suspicious nature. Adding to the intrigue are Myra’s suspicions and the interactions of Helga, the Bruhl’s neighbor who possesses psychic abilities. 

Daniel Cantor as Sydney Bruhl and Aaron Latterall as Cliff Anderson are brilliant together as they lock horns in their highly engaging cat and mouse exchanges, each performing magnificently while McKinley Carter as Myra offers strong support and is able to cement the growing tension to enhance the audience’s intrigue even further. Though plenty of witty dialogue between players to incite a good share of laughs, Cindy Gold as Helga den Dorp is absolutely hysterical as the psychic neighbor, causing quite a stir with her “visions” that often includes exaggerated body language and heavy moaning. 

We are constantly asked the question on what we would actually do to gain success, no matter what has shown up in our past nature or not, should the opportune moment take place. Should the temptation be great enough, should we know we would get away with, let’s say a crime of significance, we generally rely on the thing deep inside ourselves that would not allow us to go to such extreme measures - to take such action - most people anyway. But what happens when one’s morale compass fails us them - is absent? What is one’s breaking point?

Deathtrap is a nearly perfect psychological thriller. Add that to the fact that this particular production boasts exceptional acting performances, a detailed set that draws one in before the show even begins and a healthy diet of humor, and it would be impossible not to recommend this fantastic play.

Wonderfully directed by William Osetek Deathtrap is being performed at Drury Lane Theatre in Oakbrook through August 14th. For tickets and/or show information, visit www.drurylanetheatre.com.