PicksInSix Review: Jim Henson’s Emmet Otter’s Jug-Band Christmas

Delightful Holiday Treat for All Ages!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

The stars of this show—Ma, Emmet Otter and a darling group of critters—have been warming the hearts of many for over fifty years. They first appeared in an illustrated 1971 children’s book by Russell Hoban and Lillian Hoban. Jim Henson then brought the book to life in a one-hour 1977 television special featuring puppets from his Creature Shop and a delightful score from Academy Award-winning songwriter Paul Williams. Folks fell in love, and now, old fans, and anyone looking for 75 minutes of sheer joy, can visit the Studebaker Theatre for the charming holiday celebration that is the live theatrical adaptation of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” with music and lyrics by Williams, book by Timothy Allen McDonald and Christopher Gattelli, who directs and choreographs.

This is the Chicago premiere of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” and should not be missed when planning this year’s holiday festivities. The story follows Ma and Emmet Otter who so badly want to buy each other the perfect Christmas gift. Ma (Kathleen Elizabeth Monteleone) wants to buy Emmet (Andy Mientus) a guitar, and he wants to buy Ma a piano. You see, these two come from a family enriched with musical talents and traditions—Ma with her lovely singing voice, and Emmet with his own set of pipes and a mean rhythmic streak on the washboard bass. Problem is, they don’t have enough money to buy these special gifts for each other. So, when the mayor of nearby Waterville announces the town will be having its first annual talent show, Ma and Emmet decide to take their chances at entering and vying for that first-place prize of fifty dollars.

Turns out Ma and Emmet Otter are up against some stiff competition. Toward the end of the production, the audience becomes the patrons of the inaugural talent show and get to see humans and puppets alike showcase their talents. The magnificent Madame Squirrel (Sawyer Smith) delights in a performance with acrobatic squirrels. Mrs. Mink (Sharriese Hamilton) heats up the stage with a wildly entertaining burlesque performance, and we cannot forget a skunk on a tuba and tap-dancing rabbits.

At the core of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” is true enchantment. Each scene bursts with charm, clever humor and whimsical visuals. Take, for example, the costumes by Gregg Barnes and the makeup by Megan E. Pirtle. The costumes, like Madame Squirrel’s playfully large tail and Wendell Porcupine’s quills (Steven Huyhn), and the makeup both do well to transform the cast into their cute furry characters on Anna Louizos whimiscal set.

The puppetry, though, is what takes this family-friendly musical to the next level of creative, good fun. There are many laughs to be had when a band of squirrels tries to grow an evergreen tree in the winter by blowing hot air on it. There are also big feelings to be felt when puppet Pa Otter, deceased, appears to tell Ma to never stop dreaming and when that same band of squirrels advises Emmet to follow his heart and take flight. The opening-night audience audibly reacted in wonder when the puppet jug band practiced in a tree house, which looked exactly like the scene in the television special. The Jim Henson way of blending both worlds together worked seamlessly on stage and truly elevates the production.

Jim Henson’s Emmet Otter’s Jug-Band Christmas with music and lyrics by Paul Williams, book by Timothy Allen McDonald and Christopher Gattelli, directed and choreographed by Christopher Gattelli. Now playing at Studebaker Theatre through December 31, 2023.

Of course, there are also plenty of themes and lessons that make “Jim Henson’s Emmet Otter’s Jug-Band Christmas” a true holiday classic. Ma and Emmet Otter show us how to heal together after experiencing loss. We see bravery and growth in characters learning to trust themselves and each other when facing challenges. We also get to experience a show filled with so much love, which, in and of itself, is enough of a reason to join everyone in Frogtown Hollow and Waterville this season.

GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.

PHOTO|Michael Brosilow

ITheatrics with Broadway & Beyond Theatricals,
in association with the Jim Henson Company
presents
Jim Henson’s Emmet Otter’s Jug-Band Christmas
Music and Lyrics by Paul Williams
Book by Timothy Allen McDonald and Christopher Gattelli
Directed and Choreographed by Christopher Gattelli

Studebaker Theatre
Fine Arts Building
through December 31, 2023

WEBSITE
TICKETS

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PicksInSix Review: Gypsy: A Musical Fable - Marriott Theatre

“A PIONEER WOMAN WITHOUT A FRONTIER.”
PicksInSix® Review | Ed Tracy

Say what you will about the manipulative Rose Hovik—the complex character and commanding force at the center of “Gypsy: A Musical Fable,” the 1959 Arthur Laurents book with music by Jules Styne and lyrics by Stephen Sondheim that has its origins in the memoirs of Gypsy Rose Lee—she proves that very little will stand in the way of her personal ambitions. Whether it’s stealing from her father for the next big break, relentlessly pushing her two daughters into the business that passed her by or leaning on everyone around her whenever necessary, Rose is the engine that’s barreling down the track. Never giving up, whatever the cost. It’s all the stuff of epic musical theatre, and the fruit of a historic collaboration, that opened Wednesday at Marriott Theatre Lincolnshire in a bright, brassy and entertaining production, directed by Amanda Dehnert and choreographed by Stephanie Klemons.

The show features Broadway veterans and vocal powerhouses, Lucia Spina and Nathaniel Stampley as Rose Hovik and manager/companion Herbie, who ‘pool their resources by joining forces” to create a vaudeville show around Rose’s daughters Louise played by Lauren Maria Medina and June played by newcomer Tori Heinlein. Always the star in Rose’s dream of greatness, Heinlein’s June leads an endearing group of youngsters in the early years of the act, to the exclusion of the insecure and vulnerable Louise, who lacks the confidence of her sister and is earnestly along for the ride.

That is until the girls age out of the act and Rose’s attention, and livelihood, turns to making Louise star of the show. Medina’s transformation from little Dutch to the scintillating Gypsy in the show’s climax is as electrifying as Spina’s skillful and emotional “Rose’s Turn,” a transformation all her own from “a pioneer woman without a frontier” to the self-realization that there is more to life than unkept promises and broken dreams.

The ensemble is layered deep with exceptional talent. J’Kobe Wallace’s Tulsa offers up a smooth and savvy song and dance routine to “All I Need Is the Girl.”  Elin Joy Seiler (Baby June) and Milla Liss (Young Louise) are picture perfect in the opening of “Let Me Entertain You” as are all the youthful performers. Cedric Young, Joseph Primes and Steve O’Connell are among many in the ensemble who stand out in supporting roles.

But things come to an uproarious full stop in the free-wheeling performances of Emily Rohm (Tessie Tura), Leeanna Rubin (Electra) and Sawyer Smith (Mazeppa) who guide the wholesome Louise in the hilarious, tear-inducing dressing room number “You Gotta Have A Gimmick.” Between Rohm’s blooming butterfly in flight replete with spinning tassels, Rubin’s incandescent aura and the sheer magnificence of Smith’s statuesque presence in one of Theresa Ham’s inspired costume designs, it’s sheer bliss!

Collette Pollard’s scenic design is decked out from top to bottom in vaudeville flair that frames the action—and defines the journey incorporating Anthony Churchill’s unique media design—punctuated by Jesse Klug’s stellar lighting design, particularly during Gypsy’s coming of age. Music director Ryan T. Nelson and Marriott’s superb orchestra, conducted by Brad Haak, deliver every note from the fast-paced company numbers to Spina’s dynamic performance of the show’s iconic Act I closer “Everything’s Coming Up Roses” to make “Gypsy” a musical night to remember.      

PHOTO|Liz Lauren

MARRIOTT THEATRE LINCOLNSHIRE
presents
GYPSY: A Musical Fable
through October 15, 2023

WEBSITE

TICKETS

(847) 634-0200

HEALTH PROTOCALS

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PicksInSix Review: The Devil Wears Prada - Broadway In Chicago

Sarcasm and Sacrifice Rule the Runway!
PicksInSix® Review | Guest Contributor | Scott Gryder

In its usual fashion, Chicago welcomed another debut to the world stage with “The Devil Wears Prada: The Musical” at the historic Nederlander Theatre, with music by Elton John, lyrics by Shaina Taub, and a book by Kate Wetherland. The packed house fervently cheered as the theater was filled with the sound of echoing high heels, and the curtain rose to reveal devilish red stilettos, clacking their way across the stage to start off the pandemic-postponed premiere. We were ready for the runway!

“The Devil Wears Prada” brings to musical life the 2006 film of the same name, originally based on the true-story memoir by Lauren Weisberger. A young, aspiring writer, Andrea “Andy for short” Sachs,  takes an unexpected turn down her career path to becoming a legitimate journalist, winding up as the 2nd assistant to the infamous editor-in-chief of the acclaimed fashion magazine Runway. What begins as a means to paying bills, with the promised potential of launching her career if she ‘survives it,’ soon becomes a revealing tell-all of sinister truths behind the scenes of this bedazzled industry and the sacrifices one must make for beauty and fame. If beauty is pain, is it worth the price?

The vibrant ensemble of character singers and dancers, with their effortless exuberance and exquisite timing, are the true lifeblood of energy throughout the musical, physically driving the movement of “The Devil” forward. An iconic role to say the least, Tony Award winner Beth Leavel engages less of the venomous villain of the film’s Miranda Priestly and turns to sheer presence as her weapon of choice, making her more revered for her industry experience than feared for her wickedness. The shimmering, bright-eyed ambition of Taylor Iman Jones’ Andy Sachs is a very welcome opposition to the anxiety-ridden and hardened vibe of the film; however, Jones’ portrayal seems less driven by her passion for writing, and more led by her eagerness to please and succeed. The true cast standout is the lovable, Javier Muñoz, who captures the charm of the film’s beloved Nigel Owens, while adding personalized layers of humanity and commitment. Muñoz is surely destined for a Tony nom for Best Featured Actor. What’s missing is a bolder uniqueness between characters. Wetherhead’s book pits each character's subtext in a constant battle of wit and sarcasm, which inspires loads of laughter to start, but soon becomes wearing. Special shout outs to Chicago favorites, Sawyer Smith, who’s a living work of art, and Marya Grandy, scene-stealing character actress extraordinaire.

“The Devil” completes the franchise trifecta with respectable charm, tipping its chapeau to the original source materials in a way to delight the fans of the film and book. In doing so; however, it almost too closely follows the source material, dropping in lines made famous by the film’s stars as glaring Easter eggs, which lose their shine over time. With its broad-stroked homage style, the piece fails to find its own voice, floundering between dated material that would make an HR department’s head spin and overbearing social media references. The energy and visual excitement are there, but “The Devil” fails to take off. As a show based on the eye-popping, dynamic inner workings of the fashion industry, it contextually lacks luster. The creative team would have been wise to remember that the devil is in the details.

August 7, 2022 - World Premiere at Nederlander Theatre - Chicago | Courtesy of Broadway in Chicago

Visually captivating, “The Devil” reaches its most Broadway-bound pinnacle in the 2nd Act as Andrea falls under the spell of Paris Fashion Week. Tony and Oscar nominated costume designer Arianne Phillips steals the show with looks that leave you wishing they were available for purchase in the lobby after the show. And choreographer James Alsop brings a fabulous hybrid of early 2000 campy charm and feverish runway fashion voguing. Anna D. Shapiro’s direction truly clicks in the non-musical book scenes, fiercely juxtapositioning the songs. If only that grounded character development had been infused into the fluffier musical moments, which do less to serve the plot and more to quirkily emphasize each principle character’s tropes. Scenic designers Christine Jones and Brett Banakis elicit audible gasps as their set seamlessly shape-shifts to Paris and back again. As for the tunes of the show, much like his legendary pop hits, Elton John’s music is delightfully catchy, but Shaina Taub’s lyrics try to squeeze a size 6 into a size 4 and fail to advance the plot.

If you’re looking for an evening of visual stimulation and amusing bops, with a touch of nostalgic bronzer, be sure to catch this limited run at the Nederlander. You’ll be catwalking out of the theater to the fresh tunes of Elton John, inspired by an enthusiastic ensemble. Although “The Devil” brings blips of Broadway-quality punch, to quote Andy Sachs, they’ve “got work to do.”

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

PHOTO|Joan Marcus

Broadway in Chicago
presents
WORLD PREMIERE
The Devil Wears Prada
Nederlander Theatre
through August 21

WEBSITE

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PicksInSix Review: THE PRODUCERS Paramount Theatre

“GOOD LUCK! GOOD LUCK! GOOD LUCK!”

This much you probably already know, but it bears repeating: “The Producers,” Mel Brooks’ raucous, no-holds-barred musical send-up of the iconic 1967 film starring the immortal Zero Mostel and Gene Wilder, hit Broadway like a tornado in 2001 after sold-out previews in Chicago. That production starred Nathan Lane and Matthew Broderick, and received 12 Tony Awards, including best actor in a musical for Lane (nominated with Broderick) and best director and choreography for Susan Stroman. I was in the St. James Theater for the first Broadway preview performance on March 21, 2001, and remember the experience like it was yesterday: walking up to the box office at curtain, snagging a single ticket and settling into the stage-left box high above the stage for one of the most stunning and electrifying evenings I ever had in a theater.

That memory loomed large until Saturday evening at Paramount Theatre, when an exuberant opening-night audience, eager to see just how a time capsule of musical comedy would play in its natural, large-scale habitat, was treated to a gorgeous, non-stop comic gem. The Jim Corti-directed blockbuster stars the enormously talented duo of Blake Hammond and Jake Morrissy as Max Bialystock and Leo Bloom, who cook up a scheme to bilk wealthy widowers of their money so they can retire to Rio after their surefire flop crashes and burns. With all that is happening–and there is something special at every turn in the fast-paced, musical-comedy romp–Hammond and Morrissy own this show. Hammond’s opening exultation number, “The King of Broadway,” elevates the entire company, and his fervent solo turn, “Betrayed,” is a capstone moment of the night. Morrissy is a triple-threat talent whose comic range fits perfectly in the role of the meek accountant who finds confidence along the way, especially with Elyse Collier’s Ulla, whose amazing musical assets are in a full bloom all their own—especially in her big and boisterous number, “When You Got It, Flaunt It.”

As for the story, in an odd twist of fate, or rather, turn of a phrase, success is sealed in the cleverly framed lyrics of “It’s Bad Luck to Say Good Luck on Op’ning Night,” as Max, hoping for the worst, shouts, “Good Luck! Good Luck! Good Luck!”–the musical equivalent of referring to the “Scottish play” by its real name. In the end, the message is to follow your dream. For some that’s being a Broadway producer and lunch at Sardi’s every day. For others, it’s wearing a brat and grill headdress or singing, “Haben Sie gehört das deutsche Band?”

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Director Corti and choreographer Brenda Didier delightfully skewer the business of show at every opportunity, with a direct hit in the show’s big number, “Springtime for Hitler.” Sean Blake’s insanely over-the-top Roger DeBris, whose entourage includes the wistful Carmen Ghia (Adam Fane at his best) leading a band of minions in “Keep It Gay,” is perfect. Blake’s furor-raising turn in the musical-within-the-musical is inspired. And, you will marvel at Ron E. Rains’ manic Franz Liebkind, the Nazi sympathizer, playwright and pigeon-keeper extraordinaire.

“The Producers” boasts an impressive roster of more than 20 of Chicago’s brightest musical talents in multiple roles who all deserve mention here, including: Nathan Mittleman, Sawyer Smith, Jason Richards, Jenna Coker-Jones, Matt Casey, Sara Reinecke, Haley Jane Schafer, Erica Evans, Allyson Graves, Christopher Kelley, Miranda Borkan, Bethany Christine Elkin, Kaitlin Jempson, Bernell Lassai III, Ivory Leonard IV, Eben Logan, Jessica Palkovic, Brandon Pisano, Elena Rios, Anthony Sullivan Jr., Marco Tzunux and J Tyler Whitmer. 

The crisp and finely tuned 21-piece orchestra is conducted by Tom Vendafreddo, who also serves as music director. The impressive and colorful William Boles set design and ingenious Jordan Ross costumes–on full and glorious display in Morrissy’s brilliant “I Want to Be A Producer,” and the show-stopping, “Springtime for Hitler,”–are flat-out spectacular, as is the sound design by Adam Rosenthal, Jesse Klug’s lighting and projections by Mike Tutaj. Much more will leave you laughing in the aisles at the big, beautiful Paramount Theatre—but only until March 17th, so you should line up now or risk breaking a leg or two in the stampede to get into this one!    

PHOTOS|Liz Lauren

PARAMOUNT THEATRE
Presents
THE PRODUCERS
through March 17th
23 East Galena Boulevard, Aurora

WEBSITE
TICKETS
(630) 896-6666

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PICKSINSIX Review: PIPPIN

“THIS “PIPPIN” IS A CROWNING ACHIEVEMENT!”

It was a busy Saturday night at the Mercury Theater Chicago on North Southport. “AVENUE Q,” — or, as I like to refer to it, the puppet juggernaut “AQ2,” since it recently surpassed 100 performances on its second run in four years and is now extended through December 30th — had capacity crowds at 5:30 p.m. and 8:30 p.m. While the puppet-handlers were on dinner break, a steady stream of patrons was veering off to the right into the shadowy and steamy Venus Cabaret Theater for the much-anticipated second show at the new venue, the iconic 1972 Stephen Schwartz hit “PIPPIN.”

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In a stroke of genius by the manager of the Mercury’s Traffic Control and Scheduling Department, the staggered performance times allowed for the delay of any lobby mayhem until “PIPPIN” got out, which happened to coincide with the intermission of “AQ2.” Nobody seemed to notice at all because everyone was happily chattering about what was behind Door “P” and behind Door “Q.” Venus is definitely coming into alignment with Mercury. This “PIPPIN” is a crowning achievement! 

The main character of “AQ2,” Princeton and Pippin are each trying to find their “purpose” in shows that could not be more different in musical style, tone and presentation. The absurdly fun “AQ2” is about puppets searching for the inner meaning of life. The Venus production of “PIPPIN” — under the direction of L. Walter Stearns, featuring the expertly stylized, Fosse-infused choreography of Brenda Didier, the razor-sharp musical direction of Eugene Dizon and performed by a trio under the direction of piano/conductor Andrew Milliken – emerges as the realization that if there is hope and love, nothing else matters.

The Leading Player (a commanding performance by Donterrio Johnson) moves in and out among his Players, who frame the familiar story of Charlemagne (Don Forston), Charles son’s Pippin (Koray Tarhan) and half-brother, Lewis (Adam Fane) and Lewis’ mother, Fastrada (a ‘mistressful turn’ for the multi-talented Sawyer Smith). Along the way from soldier, to ruler and ultimately, his corner of the sky, Pippin receives all kinds of guidance and advice from his grandmother, Berthe (the incomparable Iris Lieberman) in “Time To Start Living.” Tarhan’s quiet “With You” and “Love Song” with Catherine (Nicole Armold) are memorable Schwartz ballads. The Ensemble also includes Kayla Boye, Michael Rawls and a nice performance by Gabriel Robert in the role of young Theo.

The big numbers are on full throttle including Johnson and Company in “Magic To Do” and “Right Track”… Tarhan’s “Corner of the Sky” and “Morning Glow”… Armold’s “Average Everyday Woman” …and Smith’s “Spread A Little Sunshine.” There is a special place for everyone in “War is a Science,” a scene that includes a very amusing topographical element (video and projections by G. Max Maxim IV) before the men go marching out into the fray, replete throughout in Rachel Boylan’s dazzling costumes.    

Venus Cabaret Theater is evolving into an epicenter for innovative, high tech, cabaret-style musical productions. For “PIPPIN,” the colorful, new show that works exceptionally well on the darker, more mysterious, side of the cabaret spectrum, veer just to the right through Door “P.”

PHOTOS|Michael Courier

VENUS CABARET THEATER
Presents
PIPPIN
through December 16th
3741 North Southport
(773) 325-1700

WEBSITE

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