PicksInSix Review: The Matchbox Magic Flute - Goodman Theatre

Reduced Retelling with Epically Goofy Grandeur!
PicksInSix® Review | Guest Contributor | Scott Gryder

The star-swirled proscenium of the Goodman’s Owen Theatre playfully invoked the essence of a childhood bedroom, ripe with stories to be told, creating the perfect backdrop for the opening night/world premiere performance of Mary Zimmerman’s “The Matchbox Magic Flute.” A spirited reworking of a centuries-old tale, this playful mini-rendition is the perfect introduction to the piece and the artform of classical storytelling, while maintaining a respectful reverence for the opera’s origin.

“The Matchbox Magic Flute” follows the adventures and trials of Prince Tamino, your stock prince charming. Along the way, he makes a bird-brained friend, Papageno, and they are tasked with finding and rescuing the Queen of the Night's daughter, Pamina, who’s been captured by a sinister fiend. A completely family-friendly event, this production takes the original Singspiel source material of Mozart’s “The Magic Flute” and powders it with a more floral, playful Gilbert & Sullivan operetta flair.

In keeping with the original operatic style, “The Matchbox Magic Flute” weaves together a spellbinding storytelling through song, with very minimal moments of dialogue, and the star-studded cast commits full tilt. In a way, as the text has been thinned, the characterizations and their goals have been inflated. Of the trio of Ladies, reminiscent of the witchy sisters of Hocus Pocus, First Lady Lauren Molina truly captures the manic intensity of over-the-top subtext, while later naturally transforming into the frolicking and foul beloved Papagena. As Tamino, the always-handsome Billy Rude plays a dependable Prince. Although beautifully layered in vocal range, Rude lacks a solid singing line in comparison to the rest of the cast. Speaking of, watch out, Maria Callas! The fierce, fiery vocals of Emily Rohm’s Queen of the Night truly strike fear in all hearts who share her stage! Even her dress flows with a magma-like rage as her vocal acrobatics sear. And, like mother, like daughter, Marlene Fernandez’s Pamina warbles a range of deep richness, while also enchanting with a soaring soprano. Pair Fernandez with the clownish Papageno of Shawn Pfautsch, part Piglet/part Tigger, and their schmaltzy repartee is endearing and amusing. Most vocally soothing is Keanon Kyles as Sarastro, whose basso profondo delivers chills and thrills.

Whether you’re a fan of the original story, or hardly familiar with it at all, you’ll be truly captivated by Chicago-favorite Mary Zimmerman’s adaptation and direction. Zimmerman is no stranger to this elevated artform, with a resume reaching all the way to the Metropolitan Opera. What she does with “The Matchbox Magic Flute” is combine her knack for musical theater timing with the grandeur strokes of opera, creating a youthful retelling. For the music, while lyrics sometimes edge more toward basic rather than inventive, music adaptors and arrangers Amanda Dehnert and Andre Pluess refreshingly revive these original melodies, succinctly capturing the frothy character motivations.

The more petite venue of the Owen Theatre helps to capture the matchbox concept of the show, further instilling the image that “The Matchbox Magic Flute” could be boxed up and set on wheels to travel from town to town, with a Jack in the Box ease. Even the dual role casting throughout emphasizes the traveling troupe aesthetic. Set designer Todd Rosenthal leans into the collapsible concept with tracked, sliding flats and effortlessly spun walls, painted pastorally and with brocade patterns. And what a delightful concept to have the orchestra in a raised pit at the foot of the stage, bringing the musicians into the action, sometimes literally, within arm’s reach of the vaudeville style stage.

The production elements of “The Matchbox Magic Flute” are so cleanly executed, it’s as if you could simply close the door on the Owen, latch it securely and then carry this marvelous musical moment onto another venue entirely; opening it like a music box to reveal the same darling show on the move. For patrons who don’t fancy themselves operagoers, or for anyone wishing to dabble in the genre, “The Matchbox Magic Flute” satisfies. The sure sign of a winning musical experience is when the melodies linger in your ear as you leave. And how could these tuneful masterpieces not, especially when so daringly and darlingly delivered? Bravi tutti!  

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Liz Lauren

Goodman Theatre
presents
The Matchbox Magic Flute
Adapted and Directed By Mary Zimmerman
EXTENDED
through March 24, 2024

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PicksInSix Review: Pump Boys and Dinettes

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“Pump Boys” Shake, Rattle and Roll!

What happens when a bus breaks down along that section of Highway 57 that intersects with North Dearborn and Oak in River North? You will discover the highly entertaining answer to that question when you venture out to Porchlight Music Theatre’s 27th season opener, a buoyant revival of “Pump Boys and Dinettes” now playing at Ruth Page Center for the Arts.

Written and composed by the collective of John Foley, Mark Harwick, Debra Monk, Cass Morgan, John Schimmel and Jim Wann who piloted the show to runs on Broadway and in London’s North End in the early 80s, the show has a remarkable and fascinating local backstory.

For those, like me, who either were not living here or not aware that it famously ran for over 2,500 performances at the Apollo Theater, the compact melody-filled 90 minutes has a bare thread of a story that connects with a warm-hearted neighborly song list that may not singularly appear in an audition, cabaret or on a piano bar hit list, except perhaps the hilarious ode to fame listed as “T.N.D.P.W.A.M” in the program because the title gives it all away. That said, when taken collectively as a wink and a nod to the popular themes of the country music of the 50s and 60s, “Pump Boys and Dinettes” transcends into a joyous, slap-happy, tongue-in-cheek tune fest all its own and serves as a dynamic showcase for the multi-talented singers and actors required to pull it off. And the cast that director Daryl Brooks and music director Robert Reddrick have assembled is certainly up to the task.

Three of the four Pump Boys–Jim (Ian Paul Custer), L.M. (Frederick Harris) and Jackson (Billy Rude)—are all individually fine, multi-instrument musicians, singers and actors. In fourth position is Eddie (Rafe Bradford) who plays the electric bass and has only a word here and there that’s buttoned by his engaging Cheshire cat grin. They all come to life on Sydney Lynne’s detailed and pristine set—with cozy lighting by Denise Karcewski—that’s equally divided between southern service station and charming, down home Double Cupp Diner, the roadside retreat of the irresistible Dinettes known as the Cupp sisters: Prudie (Shantel Cribbs) and Rhetta (Melanie Loren).

The company numbers “Highway 57”, Taking It Slow” and the Winnebago test drive to Florida “Vacation” and “No Holds Barred” are delightful. The featured performances and duets kick off with Harris’ upbeat “Serve Yourself.” For the spiritual angler, you’ll like the Pump Boys resolute “Fisherman’s Prayer” and “Catfish”. The earnest, plain-spoken enthusiasm of the company is the essential ingredient allowing the quieter more introspective ballads, like Custer’s beautiful rendition of “Mamaw” and Loren’s gritty “Be Good or Be Gone” to fully resonate. The Dinettes’ duets—“Menu Song”, “Tips” and “Sister”—all hit the high water mark.

At first glance, I thought that keeping an intermission in a show that moves so briskly might impact the overall pace. But the snappy act one closing number “Drinkin’ Shoes,” with some smooth choreography by Rueben D. Echoles, is a memorable highlight to a fun night that breezes by thanks to the homespun cast who play and sing their way into your heart.

PHOTO|Chollette

Porchlight Music Theatre
presents
Pump Boys and Dinettes
Ruth Page Center for the Arts
through December 12

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PicksInSix Theater Review - Drury Lane "Beauty and the Beast"

BOOK-BOUND BELLE CHARMS BROODING BEAST

Just when you thought that we could not be more different, along comes a beautifully, rich production of Disney’s “Beauty and the Beast,” now playing at Drury Lane Theatre, to provide clear proof that we are really not that different at all. Everyone of us, just like the Beast and his manor full of minions, need a little love before it’s too late and the bloom is off the rose. That includes the sweet and lovely Belle, who spends every waking moment with her face buried in a book, a sort of shield to deflect awkward situations and ward off unwanted advances. It all adds up to a lot of Disney-stylized drama that make this visually-stunning, live-action fairy tale, tick-tock-tick all night long.

“Beauty and the Beast” was Disney’s first Broadway venture almost a quarter of a century ago, which is reason enough to bring a teapot, candle, clock and feather-duster back to life in the surefire holiday hit. Directed at Drury Lane by Alan Souza, with choreography by Ron De Jesus, the musical is an expanded version by the same team responsible for the original 1991 animated film classic — book by Linda Woolverton, music by Alan Menken and lyrics by the late Howard Ashman and Tim Rice.

In case you do not have a family member, or know anyone under thirty-five, to ask, the book-bound heroine Belle (Erica Stephan) charms the brooding Beast (Brandon Contreras) at the center of a love story that challenges us to see people for who they truly are. Belle represents the dreamer in us all, holding in her hands the key to transforming the Beast who has been dwelling in a dark, introspective place for a long time. Words matter to the fearless Belle and Stephan is perfect, delivering gorgeous renditions of “Home” and “A Change In Me.” The magically dark and mysterious Kevin Depinet set, a series of grand staircases and multiple levels framed in the ever-present rose, allows for multiple scenes including a lofty, strategic setting for the commanding Contreras to render the powerful Act I anthem “If I Can’t Love Her.”

On the more sinister side of the tale, the comic foil Gaston (Mark Banik), and his side-kick Lefou (Paul Michael Thompson), slink and slam along in their single-minded pursuit to corner Belle’s affections. As events unfold, Belle’s father Maurice (Mark David Kaplan) stumbles into the manor where a clever cache of spirited souls dwell — Lumiere (Tony Carter), Cogsworth (Nick Cosgrove), Babette (Sierra Schnack), Mrs. Potts (Bri Sudia) and her son Chip (Sophie Ackerman), Madam de la Grande Bouche (Catherine Smitko) and Monsieur D’Argue (Billy Rude). With the curse in place and time growing short, something must be done to break the spell. But they are all intimidated by the Beast and his house rules, that is until Belle arrives to make a bargain for her father’s freedom and give them reason to hope.

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The company numbers are terrific — including the opener “Belle,” “Something There,” and the show-stopper “Be Our Guest,” with the enormous talent of Carter, Sudia, Cosgrove and Schnack leading the way. Sudia is everyone’s favorite teapot, providing one of the night’s most memorable moments with a lush and lovely performance of the title song.

The Drury Lane Orchestra is in top form under the direction of Christopher Sargent. Belle’s stunning yellow gown, and all of the marvelously detailed costuming, is the work of designer Ryan Park. With Ryan O’Gara’s lighting and a dizzying array of ingenious properties from designer Cassy Schillo, “Beauty and the Beast” has something for everyone.  

PHOTOS|Brett Beiner

DRURY LANE THEATRE
Presents
DISNEY’S
BEAUTY AND THE BEAST
through January 27th, 2019
100 Drury Lane 
Oakbrook Terrace, IL 60181 
(630) 530-0111 
 

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