Displaying items by tag: Western

Always...Patsy Cline is a poignant and entertaining jukebox musical that honors the legacy of iconic country singer Patsy Cline through the heartfelt story of an unexpected friendship, which is currently beautifully staged at the Drury Lane Theatre in Oakbrook. Conceived and written by Ted Swindley, the production is inspired by the real-life bond between Cline and Louise Seger, a devoted fan from Houston who first heard Cline on the radio in the late 1950s. Their connection sparked in 1961 when Seger met Cline before a performance, marking the beginning of a sincere pen-pal friendship that continued until Cline’s untimely death in a plane crash on the way to Nashville on March 5^th, 1963. Patsy Cline was just 30 when her life was cut short, right as she stood on the brink of what many believe could have been a long and illustrious career. Her star was still rising, leaving us to wonder just how far her extraordinary talent might have taken her.

Framed through Louise’s vivid recollections, the musical interweaves narrative and music, featuring over twenty of Cline’s signature songs such as “Crazy,” “Walkin’ After Midnight,” and “Sweet Dreams.” As Louise shares their story, Cline takes the spotlight to perform, offering a touching blend of live music and personal storytelling. The show captures not only the spirit of Cline’s music but also the deep emotional bond that fans can forge with their idols, making it a heartfelt homage to lasting friendship and musical legacy.

There’s a spark of something special from the moment Louise—punctual as ever—spots Patsy Cline sitting alone before the show. Summoning her trademark blend of boldness and charm, she approaches, introduces herself, and warmly invites Patsy to join her table with her family and boss. Cline’s easy reply, “Well, why don’t I just join you?” becomes the turning point that launches an unforgettable evening and the beginning of a heartfelt friendship.

From the moment Louise steps into the neon-soaked nightlife of Houston, Texas, Louise reveals she’s no mere admirer—she’s a woman with grit, savvy, and a spine of steel. That very night, she’s floored to find that country music icon Patsy Cline has arrived entirely on her own—no agent, no assistant, not even a friendly face in sight. It’s a glaring oversight, and Louise isn’t about to let it slide.

The real kicker? Cline is booked to sing for four uninterrupted hours. Outraged, Louise takes charge. She marches straight into the manager’s office, Cline trailing behind, clearly unaccustomed to someone going to bat for her. Louise doesn’t mince words. She calmly but firmly asks: at what time is Patsy expected to start each of her two sets? Her meaning is unmistakable—this isn’t one continuous gig; it’s two full shows, and the artist deserves to be treated—and paid—as such.

The bold move pays off. Cline walks away with double the fee and something just as valuable: a chance to rest her voice and spirit between sets.

But Louise’s backstage hustle doesn’t end there. By sunrise, she’s already secured Cline a slot on a local radio broadcast, giving the singer a quick burst of publicity in the regional market. And when it’s time for Cline to catch her flight, Louise is the one who sees her off, driving her to the airport like a trusted friend. In just 24 hours, Louise proves she’s more than a fan—she’s a fixer, a fierce protector, and someone who understands exactly what it means to lift up another woman.

Aja Alcazar takes center stage as the legendary Patsy Cline, and she doesn’t just step into the role — she owns it. With the grace of a seasoned storyteller and the vocal firepower to match, Alcazar channels the spirit of the Virginia-born country icon in a performance that’s nothing short of electric. Her portrayal is steeped in authentic country warmth, infused with a lively sense of sass and vulnerability that makes Cline feel both larger than life and achingly real.

From the moment she launches into the opening notes of “Walkin’ After Midnight,” Alcazar captivates the room, weaving through a powerhouse setlist that also includes timeless classics like “Your Cheatin’ Heart,” “I Fall to Pieces,” “She’s Got You,” and many more. Each song becomes a showcase not only of her vocal skill but of her ability to emotionally inhabit Cline’s journey — turning beloved hits into deeply personal moments. It’s a performance that doesn't just honor Cline’s legacy; it breathes new life into it.

Bria Sudia is equally impressive as boisterous uber fan Louise Sefer. Sudia is adorable, adding a ton of charisma and energy to the role is - and she is damn funny. Louise serves as the heart and storyteller of the production, guiding the audience through her memories with warmth and wit. Though she doesn't perform full songs, she livens the stage with colorful narration, sharp comedic instincts, and the occasional burst of humming or playful singing - especially in moments when Patsy's music stirs something deep within her.

Collette Pollard’s set design at Drury Lane conjures a warm, inviting honky tonk atmosphere, where a live band dressed in classic western attire strums away in the background. This rustic charm seamlessly blends with the intimate setting of Louise’s small-town kitchen, creating a space that feels both nostalgic and personal. Even before the first note plays, the allure sets in—with strands of vintage string lights draped above the stage, casting a nostalgic glow that instantly invites the audience into the world of the show.

Always… Patsy Cline offers a warm, nostalgic window into the golden era of late 1950s country western music, capturing the charm, grit, and heart of the time. But beyond the rhinestones and twangy guitars, the musical is a heartfelt tribute to one of the most iconic voices in American music history—a woman whose star burned brightly and far too briefly.

At its core, the show is also a celebration of human connection. It tells the improbable, yet true story of a friendship that bloomed between a legendary performer and an ordinary fan, offering audiences a touching reminder of how music has the power to bridge worlds. For anyone who has ever dreamed of meeting their idol, sharing a laugh, or swapping stories over coffee, Always… Patsy Cline is a beautiful, funny, and emotionally rich journey that brings that dream to life.

Always…Patsy Cline is being performed at Drury Lane Theatre through August 3^rd. For tickets and/or more show information, click here.

This delightful musical is highly recommended for all ages.

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

How many times have you heard someone say they went to see a western/zombie play? Most people would dismiss the idea of a western/zombie story especially one being played out on a stage. The two genres don’t seem to mesh well together when you put them in the same sentence. The western is a genre of post-Civil War America. The genre comes with a bravado similar to Arthurian mythology. The zombie genre has mostly been a contemporary tale. Usually a terrifying result of some wacky science experiment. Since The Walking Dead or Zombieland, the genre has seen a resurgence. We enjoy playing with the idea of “what if". The zombie and/ or zombie invasion has become a way to study relationships when love ones die and resurrect into a dangerous, poisonous being. Bill Daniel’s Hell Followed With Her attacks this study and blends it with drama you can only find in a well-written Western.

Willow Parker is a hardened bounty hunter out for revenge. For the two years, she’s travel far and wide to locate a man named Glanton, who muredered her family after escaping prison. She finds him in Dodge, Texas, along with a few other shady characters in a dimpy lit saloon. The zombie invasion starts of as subtle, with the town’s doctor mulling over the unusual bite marks he discovered from the last thirteen patients. As tensions skyrocket, the disease spread all over Dodge, and the sick have their sights set on the saloon where they can hear gunshots being fired.

Later, Willow Parker reveals that the disease has been following her throughout her journey for revenge. Every town she passed by is swallowed by the disease, which brings the two genres together in an interesting way. Though the origin of the disease is never revealed nor is there any explanation in the connection between the disease and Willow Parker’s revenge, the parallel adds an excitement foreign to the Western genre. An excitement that the genre could use (except for stuff like that 2011 film Cowboys and Aliens. That movie should cover the alien invasion angle). Without explanation, the audience can understand that the disease is a manifestation of Parker’s revenge. Where some revenge stories glorify the idea for an eye for an eye, Hell Followed With Her examines the revenge story as a dark passage that comes with heavy consequences when traveled.

Sophia Rosado gives a reserve performance as Willow Parker that works well with the cold-hearted character, but Krista D’Agostino, as Dr. Haxton is magnificent. Laying it all out on the stage, you feel her confusion, her sorrow, and panic. Out of all of the tough and rough characters in the play, hers is the most relatable. The intellectual trying to make sense of something supernatural.

The first half rolls along and ends on a high note that leaves the audience anxiously waiting for the outcome. But when the second half comes along it's stuffed with two flashbacks. One detailing a time when Willow Parker and another infamous bounty hunter Cole White met in Mexico. The other Glanton describes the night he murdered Parker’s parents. The play drags for the last fifteen minutes. A dice game is used as an attempt to intensify the moment but end up being unnecessary along with a shaky fight scene and long pauses in between lines. By the time the ending finally arrives, it ends the same it began with a song written by Bill Daniel called Willow’s Song. Sophia’s silky smooth voice almost makes up for the second half, but one may still leave their seat wishing there was smoother road to the end.

Despite the second-half’s length, Hell Followed With Her brings a different kind of story to the stage that blends well with the Halloween season. I challenge anyone that questions the idea of a western/zombie play being any good to see this show. It will shock you, make you laugh, and possibly change your mind on what’s possible and what’s not.

Through November 9th, 2019 at The Den Theater.

I am constantly amazed as the way directors use the intimate, theater in the round, at The Marriott Lincolnshire Theatre and this exuberant production of “Oklahoma!” celebrating the 75th Anniversary of the classic Rogers and Hammerstein musical is no exception. 

As soon as the dancing begins, this production shows that indeed the entire show of “Oklahoma!” with magnificent, definitive songs like "Oh what a Beautiful Morning" and "People Will say We're in Love,” was meant to be a ballet. This especially rings true during the memorable ballet sequence at the end of Act I which featured tow amazing dancers Benita Bünger (Dream Laurey), Lucas Segovia (Dream Curly) and Alejandro Fonseca (Dream Jud).

It’s farmers against cowboys in this late 19th century musical adventure that follows two love stories. Curly McClain, a cowboy, wants desperately for Laurey Williams to love him, but her stubbornness has her taking her family’s farmhand, Jud Fry, to the big dance instead – and Jud has some serious issues. Laurey’s Aunt Eller can’t understand why her niece is so reluctant to give Curly a chance and has big reservations when Jud gets involved. At the same time, cowboy Will Parker is in love with Ado Annie Carnes and will do whatever it takes to win her over. However, Ado Annie also has eyes for a Persian peddler, Ali Hakim.

The classic western takes a few turns and includes some bumps in the road for the main characters while unfolding into the direction of what becomes a most memorable ending. “Oklahoma!” is an entertaining story that has a bit of everything – jealousy, love, romance, humor and heroes. But in this stage adaptation, it’s the fantastic dance numbers that impress the most.

The dance sequences so beautifully choreographed by Alex Sanchez (and there are many by the entire cast) are some of the best and most exciting dance numbers I've seen in recent musicals. Each number make use of every aisle and every inch of the stage from opening number to rousing finale.

Brandon Springman is mesmerizing in the lead role as Curly while Jennie Sophia plays his romantic interest, Laurey, with great intelligence and romance. Both have really wonderful voices that are accompanied by thoughtful, realistic acting choices that make you fall in love with this couple and understand why they both let their headstrong pride get in the way of what is obvious to everyone else in town as a love affair that is meant to be. Shea Coffman is very strong as Jud Fry and can be flat out frightening at times while Michelle Lauto really gets to show off her gifted voice as Ado Annie. The talent goes on and on as Evan Tyrone Martin is very funny and likeable as Ali Hakim and Aaron Umsted steals several scenes with his electrifying dancing prowess as Will Parker.

There is also a modern-day relevance that pops out at the audience when Laurey complains to her Aunt Eller (played with great wry humor by Susan Moniz) that Jud, the moody, porn-obsessed, farmhand is staring her down at breakfast every day and generally scaring her when her aunt replies that she is being too sensitive and should ignore him. But Judd's behavior is pure sexual harassment by a man with mental health issues who is not only capable of violence and in the cathartic last scene, acts out with both sexual violence against Laurie and a murder attempt towards her beau Curly.

The entire cast is full of rich singing voices and the sing-along at the end of the show to the title song "Oklahoma!" really sums up the lively spirit of this beautifully sung, acted, and danced production of a classic. 

I highly recommend this fast paced but satisfying and exciting production for all members of your family to experience the magic and wonder of one of Rodgers and Hammerstein’s great American works. 

“Oklahoma!” runs through June 10th at the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL 60069. Tickets are available at marriotttheatre.com or 847-634-0200.