The Iowa State House has declared February 26th Bacon day! Why not? I. These troubled times, I say, if you've got it flaunt it and apparently Iowa sells more Pork than any other State in the U.S.A..
Now I know I could make a lot of jokes about Iowa's pork bellies, or Iowa being the source of all the pork that flows out of D.C., but that wouldn't be fair. Producing food is a good thing and a hard thing and so I say Bravo. Besides, I've always sorta liked Iowa ever since being in that play, you know, that one musical of Americana that celebrates all that is good about small town America and is set in River City Ioway. That's right, Meredith Wilson's The Music Man.
In the spirit of the play I've written a little musical number that could be used to promote Iowa Bacon Day or Iowa's love of Pork. Here it is:
Oh, there's nothing half-way about the Iowa way to feed you if we feed you which we may not do at all!
There's an Iowa kind, a bacon, pork shoulder attitude we've never been without that we recall.
We can be cold to someone hawking all-beef products at a ball game, but then warm to his pork hot dogs even fried.
But what the heck, try spare ribs, try pork loin or pork sausage, even though you're vegan it can't hurt to add some fried, you really ought to give Iowa, home of pork Iowa: pigs feet, spare ribs, browned ham steak, Italian sausage, baby back ribs, pork sausage, bacon, pig tails! You ought to give Iowa pork a try!
So, what do you think? Another American classic? Maybe I can send my kid to college on the residuals? I know, I'll have to split it with Meredith Wilson's estate for the music, but still, a few pennies? I need a grass roots campaign so call your Iowa legislator today! :-)
As my regular readers know, in order to support the art, every so often I will promote the arts by running ads for Chicago Area Productions, and when I can, and a show runs long enough to merit it, or I can see it before it opens in a short run, I write a review. I attended the performance of Up and Coming Theater's The Producers on Saturday, October 11. 2008.
Short Review: This production of The Producers is a triumph of comedy, satire, song and dance that will leave you longing for more as you laugh and sing your way home.
Change your plans for this weekend and see Up & Coming Theatre’s The Producers on October 16, 17, 18 and 19th or you’ll regret it and your smarter friends will make fun of you. I am tempted to come a second and or third time, myself.
Forest View Theater 2121 S. Goebbert Rd Arlington Heights, IL 60005
Remaining Performances: • Thursday, October 16 - 7:30 pm • Friday, October 17 - 7:30 pm • Saturday, October 18 - 7:30 pm • Sunday, October 19 - 2:30 pm
Tickets: • Call 847-718-7702 Mon - Fri 9 am to 4 pm • Advance - $15 ($12 with Gold Card) • Door - $18
Up & Coming Theatre’s current production of The Producers is nothing less than a triumph and I don’t use that term lightly. This production is a hysterical romp, a madcap express train riot and one of the most fun and exciting shows I’ve seen in a long, long time. The cast, full orchestra and crew provided a synthesis of acting, singing, dancing, directing, choreography, orchestra, crew, sets, lighting, and fantastic costuming that left me longing for more.
Director Susan Hamel kept this rollicking farce moving at lightning speed and seemed to never leave an opportunity for an actor or dancer to let a laugh pass by while somehow increasing the pace as the number onstage grew. Choreographer Jennifer Cupani’s marvelous work was not only breathlessly pleasing, but breathtakingly funny as well, and provided everyone in the show, from walker tapping grannies, to Max. Leo, Ulla and the “Springtime” water ballet dancers, a chance to shine as they danced, rolled, shaked, shimmied, Ullalated, Scotterized, or DeBris’d the audience into ecstascy, laughter, or hysteria, whatever the case may have been.
The Music Direction by Thomas Stirling was masterful. The Producers, Jorge Bermudez, Rich McMillan and Mario Manno are to be praised for allowing Stirling the resources to put together a 16-piece orchestra, and what an orchestra, not overpowering, note perfect, and perfectly nuanced, the orchestra provided the track on which this express hurtled so directly towards our hearts. His work with the singers and dancers was superb. While you can never tell what part of a performance’s success is due to the Director and Musical Director, when this many people get so much so perfectly right, you know that their hands must have been strong at the helm of this titan of a musical. I’d call it a Titanic success but this ship did not flounder!
The lighting and scenery by Chelsea Lynn and Robert Hamel respectively added to the fun. While Max’s office seems unremarkable, it is in other areas that the true creativity comes out, and boy does it come out! That’s all I can really say, some things have to be seen in person to be appreciated.
Getting back to Director Susan Hamel, her major triumph was in creating a cohesive whole out of what could have been an unconnected morass of individual bits and “here I am” performances, focusing them, drawing the best out of each performer, until the show had assumed a life of its own, a synergistic cohesion of magic, where a miracle has occurred beyond your wildest expectations. That’s The Producers I saw this weekend. More than worth the 35-mile round-trip I took (twice, I got lost the first time) to get there. It was worth the trip, and more.
This seemingly effortless cohesion of talent ran through the whole show, this cast knew what they could do, and they did it. They knocked the audiences socks off one toe at a time, and then slipped the socks back on so they could do it again.
Now I have to try to write about nearly 30 performers, each of whom in other shows I would probably single out. Oh the tragedy of it, oh the horror! I’m going to leave someone out! And that will be a tragedy, for The Producers, like many shows of its kind, depends upon the company as a whole to keep the show going in so many places, and in this production in particular, it is the company that is the star, from It’s Opening Night, through Along Came Bially, the mammoth, eye-bending, Springtime for Hitler, Prisoners of Love, and Goodbye, the company showcases the stars, but is itself the star, as each member is given their own moments to shine, time after time, after time, after time.
Certainly it helps that the singers can dance and the dancers can sing, the tappers can count, and sing, and dance all at the same time, and all can be funny when they are supposed to be too.
There is a lot of physical comedy in this show and something you just can’t get from a concert, though the music was certainly top quality. From Spidale’s death grip on his blankey, Hamel’s entreaty’s to God, Ulla’s well, Ullaating, Anthony Berg’s incredible antics as the crazed Franz Liebkind, John Boss’s continual antics from the first seconds of his entrance as DeBris to his last moments on stage, and most especially, Dan Naylor’s counter to type dramatic, flouncing, prancing, saucy, bouncy, leaping entrance as DeBris’ Choreographer Scott, complete with saucy belly moves that had young girls there to see him swooning (I saw them Dan, don’t let them deny it, there was swooning); the show’s physical comedy was brilliantly done and helped make the show such a smash hit.
I guess the lead actors helped too. What? Them too?
When meek and mild Leo Bloom (Bob Spidale) mentions off-handedly that a crooked Broadway producer could make more money from a flop than a hit; cynical has-been Max Bialystock (Nicholas Hamel) jumps on the idea – and Bloom – like a crazed mountain lion, starting the two on an misbegotten search for a play “so bad it has to fail”, that has a brilliance, talent and fervor that is a delight for the heart and ears.
Essential to the success of the show is that Hamel and Spidale gel nearly perfectly as comic foils and masters of physical comedy with their own unique talents having many surprises to give. Though both bear some resemblance to the originals, especially Spidale, you soon forget that and get lost in this company’s magical trek towards disaster.
Hamel is nothing less than fantastic as Bialystock, less knowing and cynical than Nathan Lane’s version of the role, his Max sings richer, dances with more grace and with moves that Mr. Lane could only fondly remember. Hamel’s Betrayed, the test of tests for any to attempt this role, is superbly and artfully performed with a deftness and mimicry of the others in the cast that brought roars from the audience. His comic timing and sense of the absurd delight the audience as he pushes Bloom along in Der Gutan Tag Hop-Clop and Keep it Gay. It seems clear that one day, you will remember that you saw Nicholas Hamel in person in a break-through performance for only $18, fondly, if you are clever enough to come.
Bob Spidale is also someone you may well remember seeing first here. His Max Bloom has a golden voice that makes all his songs a delight, but his emotive skills shine though especially in That Face, I Wanna Be A Producer, and that homage to friendship, ‘Til Him. I’d compare him too, but who care about "that guy" when you can see Spidale this weekend?
Like Hamel, Spidale is a great physical comic. Spidale’s sense of the vaudevillian hilarity is never so spot on as when he dives for his “blanky” or fights with Bialystock after the first night of their show. Spidale makes the audience laugh, roar and sigh, as he, Hamel and Malloy triangulate the movements of the audience’s funny bones all night long.
Sarah Malloy’s Ulla literally leaves male audience member’s jaws dropping* when “Ulla dance” and “Ulla dance again”. I turned around to look when I finally was able to wrench my eyes away; the things a critic must do for the art. My eyes are still annoyed at me for taking them off Ms. Malloy. Her husband is not.
Yet, Malloy’s acting and singing chops go far beyond Ulla’s bewitching belly blenderizing as she brings a joyous esprit to Ulla that makes her a joy to watch throughout the show.
Sarah Malloy’s voice as “Ulla Sings” is also quite splendiciously fine, and if her belting is not as loud as Ethel Merman’s, quite frankly, nobody minded, the sound was beautiful and so was she. Malloy’s singing in That Face is particularly beautiful and her performance in the last quarter of the show, as “Ulla acts” brings an almost insane excitement to the part. More importantly, Malloy played a funny, determined, intelligent Ulla, and I continually wondered who was pulling the strings as soon as she entered the story. This was a plot element missing from the modern version, and I liked it.
Well, you’ll have to see the show to see what else she delivered. It was a joy to watch her magnificent performance as Ulla the dancer. Here Malloy, surrounded by all the other dancers in the company not only held her own, but shone showing just how talented Malloy is, and how much more of her than “Ulla” we may see of her some day.*(I am told that the murmurs during intermission that photos N____e and S______a took of husbands with their jaws gaping open were available for sale at a small fee, is just a rumor. Surely participation in theatre could not lead our young youths astray?)
I am afraid it will be difficult to talk about John B. Boss’ performance as the untalented director DeBris with a straight face, he was so outrageously funny, it was only the cast’s rehearsal schedule that saved them from Tim Conway-it is, if you get it? Got it? Good.
John Boss’ DeBris goes beyond staggering in this unforgettably flamboyant performance that had the audience rolling each and every time he made his unique way onto the stage.
Boss’ acting, singing and dancing would have completely stolen any other show had not this cast; from curly tops and producer hats to baby blue tap dancing bottoms and storm trooper boots, not been so finely polished. Boss is a consummate actor, and in what could have been a two-note character part, he produces a symphony, with all the trills and flourishes that his comic imagination could provide, each moment building on the one before it, until that glorious moment when all is revealed and he tops himself once again. And amazingly, the company marches right along with him to glory.
I’ve seen Boss in any number of productions over the years; he’s entertained audiences in all kinds of roles from romantic but unmarried Bobby in Company to geriatric curmudgeon Scrooge in The Christmas Carol, but in this performance, he has outdone himself, going beyond all expectations, superceding all imagination and anything the movie has to offer. If for no other reason, you should see this production just to see John Boss’ DeBris. You will never, ever see anything like it again.
DeBris is the perfect vehicle for Boss who is a magnificent performer in his own right. Tall and bald, his DeBris is a queenly force to be reckoned with, yet played with all the fawning insecurity the part requires. His, um, how should I put it in a family blog, posse, I’ll use that spelling, Will Loftus as Carmen Ghia, Barry Blodgett as Brian, Michael DeFrang as Kevin (and the Soloist Storm Trooper in Springtime for Hitler), Dan Naylor as Scott, and Katy Smith as Shirley, were perfectly cast and perfectly funny. Frankly, I enjoyed this scene far more than I enjoyed it in the movie due to the combined efforts of the cast. Granted, the tension brought to the scene by Spidale and Hamel pushed the laugh index through the roof and Boss’s take no prisoners physical comedy approach made the audience scream. That was before Gary Peterson’s memorable entrance.
Later in the show, DeFrang’s solo in Springtime for Hitler was a showstopper. Superb. No other word for it. Then of course, John Boss entered as “you know who”. From that point on the laughter never seemed to end.
The most difficult part of this review is that there is so much to praise in this production and so little to criticize. I found nothing of note to criticize, and worse, there was something wonderful to point out about every actor on stage. In a cast this large, this makes the review start to take on the length of War and Peace, yet in this case, it might be worth it.
For example, while Will Loftus was amazingly funny and sincerely pathetic as Carmen Ghia, providing Boss a perfect counter-point all the way through the show, yet his deep bass solo near the top of the show in I Wanna Be A Producer is so rich and beautiful that it, in and of itself is worthy of a mention.
Anthony Berg’s startlingly amazing performance and dancing as Fritz Liebkind (and his birds) caught me completely by surprise. Berg brought just the right amount of madness and camp to his portrayal, yet when the time called for tension and drama, he was able to bring it within the lines of the character he had drawn. I doubt anyone who saw his hilarious singing and dancing performance as Fritz, will ever be able to forget it. He should go far.
So who do I leave out?
How about the beautiful and beautifully choreographed tap girls who steal the audiences hearts in I Wanna Be A Producer: it’s easy to single out the tall and beautiful Laura Berger and not-as-tall but beautiful Samantha Giovannetti, since they double as usherettes. At the same time, the gorgeous Nicole Giannelli, Erika Bradbury, Jodi Buczek and Katy Smith, blended perfectly with the others, making the tap girls a unified, funny and sexy unit throughout the show.
Or should I forget to mention the comic genius of “Not her!” Elaine Castor whose frenetic and persistent antics reminded me of the Ingénue in the Royal Shakespeare Company’s “The Critic” from the Chicago International Theatre Festival of the 1980’s? Both women decades apart gave me belly laughs and a near coronary. This company can’t be faulted for not swinging Castro in on a wire, it’s not in the script, but she tries to get back in the chorus line nearly every other way with fierce aplomb, yet in her other dancing characters, could not be a more graceful beauty or refined, if called for.
Speaking of costumes, follies girls Shannon Langland, Erika Bradbury, Mia Hirschel, and Toni Higgins-Thrash deserve special marks for bravery for wearing their staggeringly skimpy and ludicrously perfect costumes during Springtime for Hitler. Come to think of it, I really should have worked tech on this show. It’s only 70 miles round trip, quite reasonable really…
Don’t let me let this tiny bit of wit give the chorus girls short shrift. Their voices were heavenly and did much to make the Busby Berkeley meets Esther Williams choreography near the end of the show work its magic and their voices were as gracefully heavenly as they were. Yep, I really blew it on this one. I bet I could have been the pigeon wrangler…
Double casting was well hidden. There sure were a lot of Bialy girls. Who would suspect that Mr. Marks, The Indian, Donald Dinsmore, and a variety of walk-on storm troopers, theatergoers and prisoners were all played by the excellent, quick changing character actor Gary Peterson? Or that Barry Blodgett covered Bryan, Jason and Cop O’Brien? So, I’m not even going to go there.
Which brings us to the music overall. Stunning, enchanting, surprising, thrilling, powerful, balanced, audible, even, all parts heard, in short everything you want and expect from a show of this caliber. I heard every note and every note seemed to be wonderfully sung from virtually every cast member with a surprising virtuosity of singing from the dancers and dancing from the singers.
The full orchestra was a wonderful surprise, they were an asset to the show, never overpowering, and the actors never struggled to be heard over them, their voices floating easily above them. Tempo was never an issue as the show sailed along in perfect time.
Had this been merely a concert of the show, I doubt that the music could have been better, but it was so much more than that, with a richness of humor and surprises at every turn that made this Mel Brooks comedy, written in the old style of theatrical comedy fly by.
This is perhaps an excellent moment to talk about the virtually perfect tech and the amusing and clever scene changes all guided under the magnificent prowess of Stage Manager Dani Klosowskiwho kept the show running like a fine tuned Swiss watch. Since the back stage area of the show was undoubtedly busier than O'Hare at Thanksgiving, Klosowski and her crew deserve immense credit for brining off the amazing number of cast movements, sound and lighting cues, scene changes, prop and actor maneuverings and the thousands of little backstage details and riots that happen backstage, that must happen every night, so that what we saw on stage happens without a flaw.
The dance sequence after DeBris is signed up may be in the script, or it may have been improvised as a nod to the Mambo scene in Guys and Dolls, in any case it was a howl and covered effortlessly a scene change between DeBris' house and Bialystocks’ office with fun and esprit. Moments like this made the show fly by with fun and imagination. Keep your eye on who pulls those curtains though, I promise, it will be worth it. The sets and lighting were magnificent with too many touches to go on without spoiling the effect. But the big numbers were big and beautiful because of them. Robert Hamel’s sets deserve all the kudos they got after the show.
Other unsung Tech and Production Staff Heroes?
• Technical Director - Vlad Novikov • Master Carpenter - Grant Wenger • Scenic Designer - Bob Hamel • Lighting Designer - Chelsea Lynn • Sound Designer - Tom Scanlon • Accompanist - Kelli Shibuya • Props Coordinator - Michelle McDonagh • Publicity - Phaedra Wells • Production Assistant - Lindsey Weiss
(Anyone willing to type in the orchestra into a comment, please let me know!)
So, now you have a decision to make. Do you say to yourself, wow, what a review! Too bad I can’t go? Or do you pick up the phone and make a reservation? I can only urge you to go. It’s on your conscious now, but I’ll leave you with this thought.
I've been less consistent about writing this blog lately because of a massive back injury that has me in constant pain. I don’t usually mention it because while in comedy pain is funny, listening to whining about it is pathetic and boring. But I’ll tell you this, after 4 years of constant merciless pain ranging from 3-9 on a 10 point scale, I’m always in some level of discomfort. Always. So I was expecting to see this show after such a long ride through a wall full of misery and have to upgrade my opinion to compensate for the agony.
I'm not sure when the laughter became so overwhelming that I forgot my misery and just enjoyed the show, then became overwhelmed with laughter and was anesthetized by it completely, but the effects of the joy and laughter lasted through two acts, some talking with the cast, crew and audience after, the whole 35 mile trip home, and for several hours later, a painless interlude for which the cast and crew have now earned my undying friendship. It's literally been years since I've felt this good. Thank you for that. It might not be a miracle, but the laughs you gave me were the best over the stage medicine I’ve had in a long time.
Thank you to all concerned. If I left you out of this review, my profound apologies, just leave me a note and I will correct it. I hope to add the names of the musicians at a later date for the record.
Correction 10/15/08 Jodi Buczek tells me that I accidentally omitted the awesome Samantha Giovannetti. Probably not the first time someone has made the Giannelli/Giovannetti mistake during this production. I have still to clear up whether "Sam" was also one of the Usherettes. Nicole who I first gave that credit to is a brunette where as Sam is a blonde. I distinctly remember a blonde Usherette. But, was that a wig? So many mysteries. Guess I will just have to go back and see the show again. Corrections like this are most gratefully received.
Correction 10/16/08 Stage Manager and Technical Staff accidentally omitted were re-added to the review. Also on the cutting room floor. My sister had a baby this week, what can I say?
When I first came back to Chicago's South Side Community Theater scene after a long gap from doing shows in Chicago, my first part was Pablo in the Beverly Theater Guild's 1984 production of A Streetcar Named Desire directed by Brian Leo, who took a chance on me, being an unknown talent to those casting out there at the time, and to a degree, to myself.
The show went very well, and to my surprise, I got lots of laughs in places where I realized that I should have known that there could be, and only one that there shouldn't have been (Stanley and I managed to break the bed during the fight scene in one performance when we tripped going through the unsupported door frame between the kitchen and the bedroom).
Afterwards a tall, thin person came up to me and asked me if I would like to be in a show that was going up in only three weeks at a nearby theater. His name was John Boss, and that show introduced me to many people who helped me meet people who led me to be in a series of 40 some shows that spanned 1984 - 2004.
I saw John last weekend during the intermission of "Moon over Buffalo" (that I reviewed last week) and reminded him that I am happy to promote productions when I am able - he assured me that he had remembered, and sure enough, in this morning's email was a notice that he was appearing as Mary Sunshine in the Holiday Star Theater's production of "Chicago" starting July 19th.
John is a very talented actor and Holiday Star Theater books really fine acts, so I am sure that you will find the show worthwhile, If you go, you may even pass me in the lobby. The details from the theater follow:
Star Productions is pleased to announce this year’s full scale regional presentation of the smash hit musical “CHICAGO,” scheduled for July 19, 20, 25 and 26 at Merrillville’s Star Plaza Theatre. (Directions)
The 20's are roaring with hot jazz and cold-blooded killers. Filled with passion, greed, corruption, murder and non-stop dance, Bob Fosse's “CHICAGO” is one of the sexiest musicals to ever hit Broadway.
Honored with six Tony Awards and one Grammy, this drop dead musical features classic show tunes "All That Jazz," "Razzle Dazzle," and "Roxie.” Star Productions secured the rights to this exclusive area engagement after the successful national tour of “CHICAGO” made a stop at Star Plaza Theatre this past March.
The regional cast stars Tina Dohl-Menconi, re-creating her NIETF award-winning role as villainess Velma Kelly; Charlie Blum also re-creates his role as the fast-talking attorney, Billy Flynn. Jenna Rose Underwood plays Roxie Hart, Mary Jo Williamson returns to the Star Plaza stage in the role of Matron Mama Morton, with J.J. Boylan as Amos Hart with John Boss rounding out the lead cast as Mary Sunshine. Add the accomplished ensemble cast of 17 singers and dancers, and this sexy musical comes to life for four performances.
This is a Peter Files Blog Recommended Show. No money or consideration was received in advance for this promotion.
Are you a theater person with a show to promote? Perhaps a friend of mine who would like to see their show promoted in this way? Be like John, send me the information needed to put a post like this together and time and health allowing I'll be happy to do it. Send me whatever you can: show information, production dates, cast lists, links to pictures, bios, directions and even your ticket office. THE EARLIER TO BETTER. While theater posts do get many dozens of hits, its always a shame when people visit only AFTER your production is OVER.
The more you information you give me, the more I can put up. But, you don't have to know me to send me a listing. Community theater productions are especially well treated. I am also happy to update posts as you get new information like cast information and photos. You can leave me information in a comment, leave your email address in a comment which I screen, so I will copy the address, delete it and email you for more information, or email me at: {thepeterfilesblog AT gmail DOT com}
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I don't often engage in post production reviews, but in the case of the Beverly Theatre Guild's one weekend production of Ken Ludwig's Moon Over Buffalo, the production was so fine, the acting so outrageous and sublime, that for the benefit of future audiences in the area who often have only a one or two weekend run to see a BTG show, I felt that it was worth the effort to tell you what a marvelous gut-wrenching laugh riot you probably missed this weekend at Chicago's Beverly Art Center at 111th and South Western Avenue.
I've taken the liberty of reproducing parts of the program so that if you recognize the names of these actors in listings of productions in local papers in the future you know that you should make the effort to toddle on down to the theater to see them in action.
There wasn't a single performance that wasn't worth seeing in this extremely well directed production by director Tobi Lowrance with assistance from Assistant Director Francesca Scalzi who took a great script updated it with a combination of new and veteran actors and crafted a fast-moving and emotionally moving comedy and farce of high order.
Moon Over Buffalo, the story of 1950's couple George and Chalotte Hay, the touring repertory family company stars of the style of the Lunts, the Barrymores, or the Zimablists, who displaced by film and television, find the profitablility of the road touring companies drying up and their way of life dissapearing. They are facing the possibility of fiancial and relationship ruin when they get a phone call suggesting that film director Frank Capra will be in the Matinee audience of the day's show to see if George is fit to take over the lead of his new film, just as he has lost two of his own essential players.
The BTG's production was a door-slaming, sword-fighting, knee-to-groin below the belt guffaw generator of the highest or lowest order, depending on how you look at it. Joe Collins as George and Meg Massaro as Charlotte under the direction of Lowrance and Scalzi make us wonder sometimes if the War of the Roses was kid stuff as Michael Douglas and Kathleen Turner did not play people who had the whole repetoire of classic theatre to fight, kick, scratch, curse and make asses of themselves with.
Both actors tender the performances of their lives with split-second timing, perfect delivery, no fear of looking foolish in either of them, both hungerly seeking the comic truth in each and every moment of the show, yet at the same time, they show that the other side of hate is deep and abiding love, not indifference, and the changes both George and Charlotte go through during the course of the show, as they beat by beat avoid the easy way out of each line or moment in the show, and provide the audience with richness and emotional truth instead in a way that is stunningly honest and laughingly true.
Massaro and Collins are perfectly matched. Massaro's antics reminded me of Carol Burnett with a kind of subtle restraint while prancing across the stage in antics of anger, hostility and rapturous joy, that make her highs more realistic and just as funny as Burnett.
Collins, known widely as the voice of WBBM's traffic reports, and a community theatre veteran, gives what is perhaps the best and most challenging performance of his life. An expert in physical and character comedy, Collins is forced to add the romance of Romeo, the pathos of lear, the errors of Falstaff, and the drunken blindness of Stanley and Merrythought.
As George plunges though the stormy seas of this farce, swooping up and down, driven by the winds of fate, opportunity, his own stupidity, and the heights of fortune and misfortune, instead of a farcicle charade of a man, Collins gives us a man complete, torn by the pain he has brought to those he loves, wracked and ruined by remorse, blindly attempting to get on with it anyway, until at last our everyman falls, the great fall and lands as low as any man can, worse yet, in front of an icon of his dreams, the key to his future. Neitzsche or Kafka could not have planned it so well.
At this point in the show, many actors, would allow the script in hand to carry him on, riding on it to safely breezing through to the end; but Collins takes emotional risks in keeping with his growing maturity as an actor, baring his emotions in a way that gives Massaro room to do the same. So at the end of the farce, instead of a lighthearted wrapping up of ends a la Charley's Aunt, we have the two confronting the pain and trauma they have endured in their lives together and grow, together, changed by the ordeal they have suffered, to become someone new while remaining to themselves true.
Breathtaking and moving. I wish you could have been there. Watch for the cast in other productions.
Their daughter Roz, played by Lisa Marie Marciano and her estranged ex-boxfriend Paul played by Lorenzo Blackett are forcefully thrust together by the circumstances of the day in which Roz had only intended to introduce her new fiance Howard, played by David Korzatkowski to her parents, but is sucked back in to the chaos of the day by the disappearance of the production's Ingenue Eileen, played by Tiffani M. Moore. Marciano and Blackett are wonderfully cast and provide both a dramatic and, it must be said, very steamy, dramatic tension, that adds to the sweetness of the farce. Korzatkowski and Moore both bring and empty headed playfulness to their roles that crank up the tension, humor, and guffaws at just the right time. Like Collins,Massaro, Marciano and Blackett, Korzatkowski has an incredible sense of physical comedy, perhaps equal to that of Joe Collins who's own mastery of the physical comedic art form stops the show at three or four points, minimum.
In fact, it should be noted, that in the performance that I saw, Collins was so funny, that his last antic at the end of a scene in Act II, caused a second wave of laughter to start well after the blackout, as the audience re-visualized what they had seen him do just before the lights went out. Something I have never seen in 45 years of theater. A new spontaneous wave of laughter spreading through the audience while sitting in the darkness, starting a good 15 seconds after the lights went out, without a smart alec comment to trigger it. Unbelievable. Joe was just THAT funny.
Rick Baker was also excellent and very believable as Richard, the love-struck friend who wishes to steal Charlotte away from George and their near poverty and terrible traveling conditions. Presaging the aging baby-boom romanic love interest, Baker is suave, debonair, and quite convincing a someone who George could perceive as a threat to take away the woman he truly loves, Charlotte because of a moments weakness.
In every farce of this caliber there has to be a foil that comes in and out delivering sharp lines to skewer the leads. In this show it is Ethel, Charlotte's mother and the bane of George's existence played by South Side theater veteran Jan Dignan. Saying just how long Dignan has been treading he boards out here with her sister Choch would be telling. But this is truly one of her best performances and she plays the part of the wiley, cantankerous mother and seamstress with joy, verve and cunning nastiness and with a great deal of depth. One of her best performances as well and I have seen many of them.
So why did I love this show so much. I've given you a good deal of plot, but nothing that would make you laugh I think. That's because a great deal of the humor comes directly from the acting and directing in the show. It has to stand as one of the funniest shows I have ever seen (that of course I have not been in myself...).
I laughed hard and long and so did the rest of the audience. There were constant surprises. Hardly a line went wrong. The timing and tension required to keep the show moving was constantly upheld. Nary a line was swallowed. The pacing was fabulous and the cast seemed to know JUST How long to hold for a laugh to allow the audience to laugh.
And the show moved fast. A credit to the actors and directors. With intermissions the show ran well under two hours. It easily could have run 20 minutes longer with a less experienced cast. Lowrance and Scalzi seemed to have an instinct for getting the best out of their cast, using their strenghts to their best advantage.
Moore for example, the ingenue with something extra, who causes a huge fuss between George and jealous Charlotte, plays the wide-eyed innocent with aplomb until the time comes to reveal that she has more underneath than some had suspected and she gets exactly what she wants. Played to a t.
Blackett's performance as the frenetic manager and lover, and a much more determined lover than able manager, is a perfect foil to George as George freaks out, (Woody Allen on steroids without the accent), In his unique non-George way Blackett panics about whole groups of issues, but not when it comes to Roz. His changes when it comes to Roz are as surprising and funny, as they are tempting and disturbing to Roz's confidence in her engagement. Paul is after all, looking for an engagement of another kindl For a moment we think we are about to see another show altoghether when a plot element breaks the two apart before anything really good happens. Whew! It had been getting hot in there.
Marciano's conflicts as the daughter in search of normality, trying to break away from the perpetual craziness of her parent's life is also compelling, except, when disaster strikes, she is sucked back into it all to easily.
Credit must go of course to the writer of this gem, Ken Ludwig, who captured so well the essence of the times and the desires of those who wished to grasp fame and maintain their life on stage before it melted away.
So, were this show to go another weekend, which it cannot, sadly, I would have soundly recommended it. Instead, the best I can do is say, remember the actors, and the directors, and the group, the Beverly Theatre Guild, one of Chicago's oldest community theater groups.
Next Season BTG Plans to produce: The Irish drama Dancing at Lughnasa by Brian Friel, October 24-26, 2008 The Musical The Full Monty by Terrance McNally and David Yazbek, February 6-9,2009 The Comedy Twentieth Century by Ken Ludwig, May 8-10th, 2009
You can print the form on this page to order season tickets and save $12 or more on ticket prices.
Hot Trash From the Audience: There was speculation about how full the monty would be for the full monty, and a few jokes in the audience about whether we would want to see some of our friend's montied at all. I assured those I sat with that I was not intending to audition as I wanted to help BTG build an audience rather than send them running to the exits, possibly scarred for life. More on that when they get closer to the production next year.
I am tired after being wired from the excitement of a great production so I hope the cast and you will forgive any typos herein. As always if you have a theatre production in the Chicago/NW Indiana Region to Promote send me the information well in advance to "Thepeteterfilesblog" At "Gmail" Dot "Com" and I will be happy to post what I can.
It helps a lot if you give me something in ready to post format. If you have pictures, especially at a website that I can link to, give me the links, or send me the photos as attachments and I will be glad to post what I can. As time has passed I do get quite a bit of response from actors knowing quite a few of them myself.
Finally, congratulations to the whole cast and crew of Moon over Buffalo. While I spent more time on Collins and Massaro, a production this complex does not succeed without incredible coordination and effort both onstage and backstage, a true ensemble effort. A.D. Scalzi was also the Stage Manager for the show, something she has a gift for. The show has a nightmarish number of entrances and exits, yet she looked calm and collected before the performance. The tech for the show was also perfect and the sets by Emil Zbella were also superb (as always Emil).
How to Prepare for an Audition – Imperfect Notes for the Beginner Scribbled Quickly From My Own Experience
It is generally agreed by professionals like myself that Panic is the first step to a great audition. True, this is counter-intuitive. You do not want your high level of panic to show at the audition, but a high level of panic right up to the point that you get into the car on the way to the audition itself can be a most helpful motivator.
Note the importance of losing your panic before getting into a car on the way to the audition itself, in fact before driving any auto vehicle at any time prior to the audition. In fact, where available, taking public transportation to an audition can help relieve pre-audition stress. Call 836-7000 for directions in the Chicago Region for CTA, Pace and Metre. Beverly Art Center, for example is served by all three!
I have noted that severe auto accidents often undermine the confidence of those auditioning and directors alike with worries of self-termination prior to the actual performance date and quite talented people are sometimes over looked at auditions for this reason.
“Kumquats! I’d cast him, but in the Scottish play he almost got his arm cut off and he didn’t even have a sword, in Sweeny Todd he managed to slide down the Barber Chair Head first and we’re doing Pirates of Penzance here, no, I can’t risk it. And he’s a great Tenor. If I could just suspend him in a box above the stage. Hmmn, Maybe…. From such maybes have come some of he stages greatest on stage fiascos. Note: Gender and Facts changed above in the interests of fairness and to protect my life.
Getting the script is the next big step. Once you have it, often available from the producer for community theater productions for a deposit, you can figure out, within reason, if there are any parts in the show for you at all.
I am not going to try to define “within reason” here. So often directors are stuck in “Auditions" with the "this is all I get to work with?" situation such that you may get to play 40 years older or younger than your actual ace, especially in a musical, if you have the notes. More likely, the director will look for a ringer, but the bigger the cast, the better your chances, especially when multiple shows are casting at the same time. I still don’t know why production companies do this, but often in an area production companies will create chaos by holding auditions within days of each other. This always works to the actor’s advantage and never to the producer’s as this allows actors to pick and choose between offered parts and this messes up the "pretty pictures" producers made on the stage when casting.
Having a realistic idea of what you are really likely to be cast for will help you a lot. The best way to get this sense of reality is to work with a really good friend, an acting teacher of vocal coach who will be honest with you. Brital honest is critically important. Not the kind you see in the American Idol pre-shows.
All my friends say I'm really a great singer so I thought I would screech my way through The Facts of Life Theme Sng on National Television.
That kind of honesty you don't need unless its backed up by an agent.
Acting is a skill, practice and exposure to people who are really good at it will really help you, IF, you pay attention to them without being a pest. I have learned far more from the people I have worked with over the years than from any book.
If you are preparing for a musical, you need to prepare a song in your vocal range and be ready to sing it in time to the music. The music director may change the time of the music to see if you handle it well or poorly and can work with an orchestra that may get away from him.
But first things first, if you are a low alto, don’t audition for a high soprano part just because you have always wanted to play that part. The music director will strongly resist having the song done an octave lower except in very exceptional chances.
How do you find out your vocal range? The musical director at a community theater audition will help you a little. But for lead roles you usually need to have been working with a vocal coach.
Vocal coaches do not have to be hugely expensive. But $20-$30 a half hour, every week is not out of line on the south side. Ask the good singers who they use. They probably have the best coaches. Try to get an appointment. If you know nothing about sight reading music they may reject you, then ask for a reference for a real beginner who will tolerate this, or ask for “emergency help” for one audition and they may, may take pity on you.
Above all else a vocal coach should start by:
Teaching you how to protect your voice;
Teaching you how to breath correctly;
Teaching you about your range and what songs are in it;
If your vocal coach does not start with the first two immediatly, especially in winter, ask why not and be prepared to fire them right away if it is not a very good answer. Finding your range might come first, but protecting your voice is paramount, you can ruin it through improper vocal training and if your vocal coach does not know how to protect against this you need to move on, immediately.
Analyze the scrip to try to figure out what scenes the director might choose for auditions and learn these first, but try to become really familiar with as much of the script as possible. Look for scenes where a lot of the characters are on stage at once. The cast parades: the director needs to see how the whole cast looks together. If you are a shorter person in one of these, wear a hat and heels as you go up. If tall, flats and no hat. Little things help. Dpn't do dumb showy things to get attention, trust me, I've tried, they don't work.
Look for little intense scenes between the characters you think you want to play and the main characters they compete against, who is often but not always the same gender. To borrow from Michael Shurtlief’s excellent book “The Audition” (buy in paperback, its cheap) always ask in any scene, ask “What is your character fighting for?” Then fight for it. Hard. Even if you've gotten the what the character should be fighting for wrong, if nothing else it makes for a fiesty scene and proves you won’t be boring on stage if you get the part. Directors often like surprising and feisty interpretations of work that are seriously done. It means the actor has done some serious thinking about the work and might be fun to work with, a serious plus in most directors worth working with. Yes, Virgina, there are a very few directors not worth working with. If you are lucky and are in the scene with someone very good, your fighting for method will give them something to play off of. Listen to what they are sending you and build off it, incorporate it, the emotions, etc, and bring the level of tension and stakes of the scent up, not down.
Working really well with someone, anyone in a scene can help you get the part. Your goal is always to get some part, not a specific part. Besides, you never know who the director has really picked for the lead, it is often not obvious. I've been in shoes where the director picked a young woman as the lead but only read her in minor parts, but with every other potential member of the cast. He knew how good she was already, not everyone else. He learned a lot by how people worked with her compared to the "obvious" lead candidates and the resulting cast complely surprised everyonel. The director cast those who worked well with everyone, especially his lead. Of course, most directors are not this devious.
So don't agonise too much how you are doing in any one audition, or lie and die on any one audition. Its just not healthy. As time goes on, the right parts will come to you with experience. Especially as you build a reputation for reliability and stability from show to show which are very important.
That’s all I have time for now. OH. Ues.
Remember not to panic IN the audition. The producers want you to succeed and you to show yourself off at your most calm and professional best. They want to see what you can really do and are hoping that YOU will be the surprise star that they are looking for. And you just might be. And don’t forget to have a little fun, your audition audience may be larger than some of the real audiences you get, sorry to say. And, more receptive, because they are sweating as much as you are. That is, if the producers let the others see you. That's an issue in and of itself.
I got the following information from Fran at the Orland Park Park District who publishes a regular theater newsletter which I have abstracted here. I use the term abstracted lightly here; this is nearly here entire newsletter. Fran, if this use is not O.K. just email me at ThePeterFilesBlog AT Gmail Dot Com and I will pull this post forthwith.
If you find this information useful, I suggest that you subscribe directly to Fran's newsletter by writing to rpintern@orland-park.il.us attention FRAN and asking to subscribe. MANY KUDOS to FRAN for this difficult undertaking.
Here's from her latest newletter:
The Orland Park Theatre Troupe will be finishing out its’ 2006/2007 season with our yearly musical, Grease in April and Break A Leg in June. Our 2007 / 2008 season will begin with Revenge Of The Wiz in October and our Holiday production in December is yet to be determined. Grease, as you all know, will be open to everyone of high school age and up. Break A Leg is open to all, age 12 and up and Revenge Of The Wiz is an adult age production. We’re excited about our season and look forward to another very successful year! Thanks to all who have been involved this year, whether on stage or behind the scenes; your participation is invaluable and what continues to make the OPTT such a success!
On to upcoming shows! Northwest Indiana’s South Shore Brass Band with the Memorial Opera House Carolers performs this weekend in A Very Brassy Christmas Concert! Don’t forget Curtain Call’s Fiddler On The Roof in January. Those tickets continue selling fast but check out their online ticket reservations website below!
Don’t miss auditions for the OPTT’s production of Grease, BTG’s Jesus Christ, Superstar, and Oak Lawn ’s Thoroughly Modern Millie! Read all the details below! Living Hope Lutheran Church and The Leo School of Theatre in Frankfort are still in need of participants for Jesus Christ, Superstar! If interested, please contact them at 815-464-0101 to see what roles may still be open!
Also, the Beverly Arts Center is currently looking to fill six theater related positions. If anyone is interested, go to their website @ www.beverlyartcenter.org to see what’s happening there!
If you would like to submit information regarding theater issues to be included in the Theatre Happenings E-column, please feel free to do so by noon each Tuesday, at: rpintern@orland-park.il.us, Subject: FRANN. Remember, all the information must be included; name of organization, name of show, when it is showing, where it is showing- including the address, the times of the performances and the box office number. If all of the information is not there, I cannot post it.
Here is their list of current auditions and shows.
MEMORIAL OPERA HOUSE A VERY BRASSY CHRISTMAS – STARRING: NORTHWEST INDIANA’S SOUTH SHORE BRASS BAND & THE MEMORIAL OPERA HOUSE CAROLERS! WHEN: Friday, December 21st WHERE: Memorial Opera House @ 104 Indiana Avenue , Valparaiso , Indiana TIMES: 7:30pm TICKETS: $10.00 Adults / $8.00 Students & Seniors BOX OFFICE: 219-548-9137
BEVERLY THEATRE GUILD JESUS CHRIST SUPERSTAR - AUDITIONS WHEN: January 3rd, 5th & Callbacks on January 6th if needed. WHERE: Salem United Church of Christ @ 9717 S. Kostner Ave , Oak Lawn TIMES: Thursday 7:15 – 9pm / Saturday 1:15-5pm SHOW DATES: March 14th, 15th & 16th SHOW LOCATION: Beverly Arts Center @ 2407 W. 111th Street , Chicago TICKETS: $20.00 Adults / $19.00 Senior (62+) & Students (with current ID) / $18 Military~Retired or Active / $18 Group Sales ~20 or more BOX OFFICE: 773-445-3838 or www.beverlyartcenter.org
CURTAIN CALL COMMUNITY THEATER FIDDLER ON THE ROOF WHEN: January 3rd, 4th, 5th & 6th WHERE: Lincolnway East High School , 201 Colorado Avenue , Frankfort TIMES: Thursday, Friday & Saturday @ 7:30pm / Sunday @ 2:00pm TICKETS: $18.00 Adults / $16.00 Seniors & Students BOX OFFICE: 708-699-2228 – Tickets available for purchase through their online box office at: www.ccctheatre.com
OAK LAWN COMMUNITY THEATER THOROUGHLY MODERN MILLIE - AUDITIONS WHEN: January 6th & 7th with tentative callbacks on the 8th WHERE: Oakview Recreation Center @ 4625 W. 110th Street , Oak Lawn TIMES: Sunday, 1/6 @ 1-5pm / Monday, 1/7 @ 7:30-10:00pm SHOW DATES: March 6th, 7th, 8th, 14th, 15th & 16th SHOW LOCATION: Oakview Recreation Center @ 4625 W. 110th Street , Oak Lawn TICKETS: $19.00 Adults / $18.00 Students & Seniors BOX OFFICE: 708-857-2200
ORLAND PARK THEATRE TROUPE GREASE! - AUDITIONS WHEN: January 20th & 21st (22nd – Callbacks if necessary) WHERE: Old Village Hall @ 14413 Beacon, Orland Park , IL TIMES: Sunday, the 20th ~ 1 – 6pm / Monday 21st ~ 7 – 10pm / Tuesday, the 22nd ~ Callbacks if necessary 7:00pm SHOW DATES: April 25th, 26th & 27th SHOW LOCATION: Carl Sandburg Performing Arts Center @ 13100 LaGrange Rd. SHOW TIMES: Friday & Saturday @ 7:00pm / Sunday @ 2:00pm TICKETS: $17.00 Adults / $15.00 Seniors & Students / $13.00 Children to age 12 BOX OFFICE: 708-403-7275 Must sing 16 measures of a prepared piece of music from the show, be prepared to learn a brief dance and read from script.
ORLAND PARK COMEDY IMPROV COMEDY IMPROV WHEN: Friday’s, January 25th, February 22nd & March 28th WHERE: Old Village Hall @ 14413 Beacon, Orland Park , IL TIMES: 8:00pm – 10:00pm TICKETS: $5.00 at the door BOX OFFICE: 708-403-7275
I hope you found these helpful. Now if I only had information on what the BHUC was up to this spring!
Power youth, charm and beauty overcame experience, showmanship and versatility in last night's idol finale which was a star-studded tribute to the contestants by those who had climbed the ladder in the past; the likes of: Tony Bennett, Bette Midler, Steve Tyler and so many more, helping to show off the talents not only of the idol contestants, but what it means to be a true American Master, as Tony Bennett did when he showed the kids how to take an ecstatic crowd of fans and literally drive them to their feet, Simon included, in appreciation of his raw talent and showmanship.
Since the only clip of Tony from the finale that I could find was 19 seconds long, here's one from the Dean Martin Show showing a much younger Tony singing Fool of Fools and what he sang last night For Once In My Life. Then, Deano, the Rat Pack's Jester of Suave, joins Tony for There is Nothing Like A Dame and Mame. All this almost 40 years ago, in 1968. Back when Tony was already an American Idol.
This American Idol 6 Finale show, as well as showing off the talents of the top two competitors, was solid entertainment from end to end, and one which I hope will be released in DVD format with the rest of the season's highlights as in past years. This time, I'd like to see the whole finale from start to finish though.
To commemorate her 69th birthday on October 1, actress/vocalist, Julie Andrews made a special appearance at Manhattan 's Radio City Music Hall for the benefi t of the AARP.
One of the musical numbers she performed was "My Favorite Things" from the legendary movie "Sound Of Music". (Click the link for the original Rogers & Hammerstein Lyrics.)
Here are the lyrics she allegedly used:
Maalox and nose drops and needles for knitting, Walkers and handrails and new dental fittings, Bundles of magazines tied up in string, These are a few of my favorite things.
Cadillacs and cataracts ,and hearing aids and glasses, Polident and Fixodent and false teeth in glasses, Pacemakers, golf carts and porches with swings, These are a few of my favorite things.
When the pipes leak, When the bones creak, When the knees go bad, I simply remember my favorite things, And then I don't feel so bad.
Hot tea and crumpets and corn pads for bunions, No spicy hot food or food cooked with onions, Bathrobes and heating pads and hot meals they bring,< /STRONG> These are a few of my favorite things.
Back pains, confused brains, and nneed for sinnin', Thin bones and fractures and hair that is thinnin', And we won't mention our short shrunken frames, When we remember our favorite things.
When the joints ache, When the hips break, the eyes grow dim, Then I remember the great life I've had, And then I don't feel so bad.
(Ms. Andrews received a standing ovation from the crowd that lasted over four minutes and repeated encores.)
Unfortunately, while the lyrics are very funny, Ms. Andrews, sadly did not and could not have sung them on the day in question due to vocal cord surgery gone wrong that wiped out her ability to sing in 1997. Though removing the cancer may have saved her life, Ms. Andrews own Sounds of Music will probably never be the same again.
For more information on this and other stories that seem a little to good to be true try out Snopes.com which is a great source for finding out the truth behind urban legends.
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