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PicksInSix Review: Disney's The Little Mermaid - Drury Lane Theatre

 
 

This ‘Little Mermaid’ Has Got Legs!
PicksInSix® Review | Ed Tracy

Sparkling performances that shimmer from head to tail highlight director Scott Weinstein’s delightfully bewitching and hugely entertaining revival of Disney’s “The Little Mermaid” that opened Thursday at Drury Lane Theatre in Oakbrook. The royal love story—with Alan Menken score, lyrics by Howard Ashman and Glenn Slater, and book by Doug Wright—is anchored by the stunning presence of Sarah Kay as Ariel and her stalwart Prince Eric played by Patrick Johnson. The timeless classic is a heartwarming fantasy adventure in a world that includes whimsical puppets, gorgeous costumes and magical special effects that will take your breath away.

That love story begins when Ariel, who has yearned for a new part of the world, away from the isolation of the underwater kingdom ruled by her father, King Triton (Anand Nagraj) and from her siblings, the Mersisters, saves Prince Eric from drowning. Fleeing from her father’s rage when he discovers what she has done, Ariel is lured into a pact with her evil aunt Ursula (Sawyer Smith) to trade her enchanting voice for the opportunity to explore the world in human form. But it all comes with a heavy price of Disney-style drama.

Ariel’s glistening underwater world is the work of scenic designer Tijana Bjelajac who crafts rock formations and massive stone laid columns together with sheer fabric all highlighted by Anthony Churchill’s projections and Ryan O’Gara’s lighting to simulate the mystical ocean depths and the stately kingdom that bursts with the color and rich texture of the costume design by Ryan Park and Zhang Yu. Those finely-feathered and floppy-finned friends in Ariel’s oceanic sphere—the creative artistry of Chicago Puppet Studio—come to glorious life in Kasey Alfonso’s superbly choreographed ensemble sequences. Music director Ellie Kahn brings out the brilliance in the iconic Menken/Ashman/Slater score performed in fine form by the Drury Lane Orchestra under the direction of Chris Sargent.

Michael Earvin Martin is terrific as the crab companion Sebastian, leading the company in the crowd pleasing “Under the Sea” and “Kiss the Girl.” Maya Lou Hlava’s Flounder, with the array of Sea Creatures, Gulls and Animals, are sure to make you smile. Landree Fleming shines as Scuttle in the playful “Positoovity|Positaggity” and you’ll love the zany antics of Matt Edmonds as the kooky French Chef Louis in “Les Poissons” along with the wonderful, and often hilariously understated, work of Rob Lindley as Grimsby, the Prince’s dutiful Guardian.

Few Disney villains compare in sinister scope to the sea-witch Ursula and Smith’s commanding presence in the role as the cunning sorcerous, with a couple of slippery eel sidekicks like Ryan Michael Hamman (Jetsam) and Leah Morrow (Flotsam) in tow, is magnificent. The trio are chilling in “Daddy’s Little Angel” and Smith brings the house down in a dazzling performance of “Poor Unfortunate Souls.”

It’s a night of fun filled comic chaos that keeps bubbling up with Kay’s marvelous, multi-layered performance at the heart of the show. Her exuberance, youthful charm and soaring vocal talents make Disney’s “The Little Mermaid” at Drury Lane a joy to watch and a destination for the holiday season and New Year.   

PHOTO|Brett Beiner

Drury Lane Theatre
presents
Disney’s
The Little Mermaid
100 Drury Lane
Oakbrook Terrace
through January 12, 2024

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Natasha, Pierre & The Great Comet of 1812 - Writers Theatre

 
 

‘GREAT COMET’— Big, Bright, Beautiful Star!
PicksInSix® Review | Ed Tracy

The Chicago premiere of “Natasha, Pierre & The Great Comet of 1812” is lighting up the Glencoe sky over Writers Theatre in a soaring production directed and choreographed by Katie Spelman with music direction by Matt Deitchman. Spelman has assembled an exceptional ensemble who deliver a flawless performance of Dave Malloy’s groundbreaking electropop opera that received a dozen 2017 Tony Award nominations.

There is a lot to unpack in this love story derived from a 70-page section of Tolstoy’s War & Peace. The first path of two storylines that are destined to intersect involve the emotional struggles of Natasha (Aurora Penepecker) a free-spirited young woman who is visiting Moscow to meet relatives of her soldier fiancé who is away at war. Natasha becomes wildly tempted by the deceptive Anatole (Joseph Anthony Byrd) whose seductive charms compel her to break her engagement and make plans to elope with Anatole. But there is more to Anatole than meets the eye.

The second path involves the unhappily married Pierre (Evan Tyrone Martin) who is tormented by drink and depression and searching for his own way out of the situation. Pierre’s promiscuous wife Hélène (Bri Sudia) happens to be Anatole’s sister and takes macabre pleasure in helping him lure Natasha’s affection. Pierre is lost in his own obsessions to the point where he publicly confronts one of Hélène’s lovers, Dolokhov (Andrew Mueller), who also happens to be a friend of Anatole, and, in a drunken rage, challenges him to a duel.

Natasha’s host and godmother Marya D (Bethany Thomas), Natasha’s cousin Sonya (Maya Rowe) and Mary (Julia Wheeler Lennon) Andrey’s sister have vastly conflicting interests while, at home, Mary must contend with the eccentric Bolkonsky (Rob Lindley) and keep a watchful eye on Natasha as events unfold. By the time Andrey (Matthew C. Yee) arrives, there is glass all over the floor and only with Pierre’s influence can there be a hopeful solution for both Natasha and for himself.   

This glorious work is sung-through, a highly ambitious undertaking that could only be accomplished with the superb ensemble—including those mentioned with Sophie Grimm, Will Lidke and Jonah D. Winston—steeped in seasoned Chicago talent and showcasing many fine newcomers to Writers, including the luminous Penepacker whose voice and presence as Natasha is intoxicating in a big, bright, beautiful star turn. Rowe is perfect as Sonya, particularly in the memorable “Sonya Alone.” Martin’s brilliant vocal range is on full display as the conflicted Pierre. Winston has the reins well in hand in “Balaga” leading the company on a wild crowd-pleasing ride.

The creative team of scenic designer Courtney O’Neill, costume designer Raquel Adomo, sound designer Eric Backus and lighting designer Yael Lebetzky create a stellar, unified experience, and the magnificent work of Dietchman, conductor/pianist Charlotte Rivard-Hosler and the orchestra shines brightly all night long to deliver Malloy’s complicated and intricate score with elegance and precision. Altogether, it’s a compelling, cosmic adventure that just might be a once-in-a-lifetime event!

PHOTO|Liz Lauren

Writers Theatre
presents
Natasha, Pierre & The Great Comet of 1812
through October 27

WEBSITE

TICKETS

PROGRAM

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

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