PicksInSix Review: Ernest Shackleton Loves Me - Porchlight Music Theatre

Awakening Adventure Awaits If You Frigidaire.
PicksInSix® Review | Guest Contributor | Scott Gryder

The chilling atmospheric wind sounds and shadowy aquas across the stage of the Ruth Page Center for the Arts were all too familiar to Chicago audiences at Porchlight Music Theatre’s opening night performance of “Ernest Shackleton Loves Me.” The ship of a set, ice-locked within a bleak Brooklynite kitchen, quickly let us know that a 90 minute quest for adventure and danger was soon to begin.

The dream-like hallucination that is “Ernest Shackleton” combines the mundane struggles of out-of-work electronic music composer Kat with the over-the-top epic tale of 20th century Antarctic explorer Ernest Shackleton. Like two chaotic glaciers passing in the night, their stories collide at paralleling pivotal points of survival for each. While Kat’s circumstance might not be so life-threatening, the unlikely pair team up to face life’s unexpected trials to the tune of Kat’s music. Driven by her unique blend of stylings, Ernest and Kat venture forth to battle physical and emotional odds, conquering their fears, facing their losses and finding themselves along the way.

Seemingly most challenging for a production like “Ernest Shackleton” would be the casting. The sheer scope of talent required to meet the musical demands of playing a multitude of complex instruments and map through unmelodious music was most likely as nearly insurmountable as the “impenetrable” mountains that Shackleton’s crew had to face. But Porchlight’s Michael Unger and Eric Svejcar have done just that. Elisa Carlson’s Kat is spunky and full of defiance, with a musical mood to match that of pop superstar P!nk. Carlson has the punk-rock edge of a stereotypical 90’s New York avant-garde artist layered with the scratchy vocals of Miley Cyrus. Marry that airy tone with the crispness of Andrew Mueller’s tenor and the quality is full and moving. Together, they vocally sail toward their destination with a keen optimism. But it’s Mueller’s shining acting chops that deliver the emotional strength within the scenes. Not only does he delight when dabbling in and out of dating app characters, but his presence as Ernest Shackleton is grounded in awareness, personality and honest discovery, a discovery that is somewhat lacking in Carlson. Mueller brings us a Shackleton with profound optimism and a thirst for adventure comparable only to that of the fabled Don Quixote.

“Ernest Shackleton” is not your typical musical theater musical. Brendan Milburn’s music is baked in synthetic sound, looping tools, and echoes. Along with this less than traditional style, Val Vigoda presents more patter-based, organic lyrics, versus something more strongly singable. Not that the music and lyrics detract from the storytelling, they simply take a few beats to adjust to. The piece’s pacing, filled with the vigorous wit of Joe DiPietro’s book, rides this hurricanic cutting electronic edge, weaving through the mosaic plot. The essence of “Ernest Shackleton” is reminiscent of a Second City sketch, with its blizzard of puns and predictable situational comedy; however, the full scope of the show is quite charming.

Scott Davis’s scenic sails standing at full mast are serene and captivating, boldly bearing Smooch Medina’s wash of location projections and G. Max Maxin IV’s aurora borealis lighting, amidst his unnervingly cluttered hybrid home/studio made up of trunks and toys, instruments, and instrumentation. The use of the large screen TV in Kat’s kitchen was a bit jarring, but it provided an entertaining canvas for Mueller’s many momentary comedic characters and stunning actual film clips of Shackleton’s expedition. The most monumental creative feat was audio engineer Lynsy Folckomer’s maestro-like balance between the massive waves of electronic sound and amplified gabby lyrics.

The refreshing message delivered throughout the expeditions of “Ernest Shackleton” is the constant reminder to never lose our sense of adventure nor to forget the power of hope, even as we grow up. “Ernest Shackleton” is a playful romp, pushing the envelope of musical stylings and overflowing with talent. If you’re looking for adventure, catch this show soon, for “Ernest Shackleton Love Me” is forced to leave port on June 1st.

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  

PORCHLIGHT MUSIC THEATRE
presents
ERNEST SHACKLETON LOVES ME
Ruth Page Center for the Arts
through June 1, 2023

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PicksInSix Theater Review - Marriott Theatre Irving Berlin's "Holiday Inn"

“Holiday Inn” Cast Really Making Hay!

In the opening moments of the Marriott Theatre’s glorious new production of “Irving Berlin’s Holiday Inn” that opened Wednesday night, Michael Mahler, one of Chicago’s most gifted actors, a top-tier vocalist, musician and composer, stepped up to the lone stage piece – a ‘40s era console piano – and proceeded to perform selections from the overture live. Mahler played flawlessly, as he does throughout his superb performance as the famous ‘hit man’/crooner turned gentleman farmer Jim Hardy, right in step with conductor Patti Garwood’s orchestra to ring in the rich tones of the Berlin songbook that follows. Under the “Blue Skies” of this Connecticut farm setting, the “Holiday Inn” cast is really making hay!   

“Holiday Inn” — book by Gordon Greenberg and Chad Hodge — is directed by Denis Jones, who also choreographs, as he did in the 2016 Greenberg-directed Broadway production which received a Tony nomination for Jones. That inspired production, which had the benefit of a proscenium stage and wing space, fits very nicely in Marriott’s round configuration. There are a lot of moving parts and the set, lighting and projections/media team — Scott Davis, Jesse Klug and Anthony Churchill — make it all come together seamlessly.

Front and center — a perfect match for Mahler — is the captivating, triple-threat talent, Johanna McKenzie Miller as Linda Mason who just about everyone falls for, right down to the precocious Charlie Winslow played by 9 year-old Patrick Scott McDermott. The drama in this familiar hometown-to-Hollywood love story – based on the 1942 film starring Bing Crosby, Fred Astaire, Marjorie Reynolds and Virginia Dale that featured ‘White Christmas’ – revolves around the schmoozing hoofer Ted Hanover (Will Burton) who crashes the New Year’s Eve party after being ditched by his partner, and Hardy’s fiancé, Lila Dixon (Kimberly Immanuel). Despite the push and pull of efforts back on the farm and on the phone by the handy-dandy Louise (Marya Grandy), the impassioned agent Danny Reed (Lorenzo Rush, Jr.), and, an unsuspecting farm animal, things have a way of sorting themselves out.

Jones’ electrifying ensemble delivers the finest dancing that you will see on a stage anywhere in Chicago right now. There are no less than a half-dozen, lavish, upbeat company numbers, with everyone decked out in Sally Dolemko’s exquisite, holiday-inspired costumes, ripping through the iconic Berlin score under the musical direction of Ryan T. Nelson.

The singing, dancing, heart-tugging joy ride is full-throttle with ‘Shaking the Blues Away,” a scene played out this|close with a stage full of dancers, milk buckets and jump ropes of holiday lights. Burton is terrific as the debonair Hanover who dances up a storm with the ravishing Immanuel, when he is not with Miller, or on his own in the Fourth of July ode “Let’s Say It with Firecrackers.” In the featured dance number “You’re Easy to Dance With,” Burton and ‘the Girls’ delight right down to the perfectly executed backward tap-dancing line!

From the hotter-than-hot “Heat Wave,” the elegance of “Easter Parade” and “White Christmas” and all the holidays in between, when you step out with your baby for this one, you will definitely “Have Plenty to be Thankful For!” Don’t miss it!

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
IRVING BERLIN’S
HOLIDAY INN
through January 6th, 2019

Ten Marriott Drive
Lincolnshire, IL 60069
847-634-0200

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PICKSINSIX Review: SWEET CHARITY

“CAUGHT IN THE FLYPAPER OF LIFE.”

Appearing nightly… The story of a dance hall girl looking for love in all the wrong places is wrapped in a lush musical score, sassy dance numbers and a cast of characters who like the girls at Fandango Ballroom are caught in the flypaper of life. If you want to have fun, fun, fun, one of the sweetest Charity’s of all is appearing nightly at the Marriott Lincolnshire -- and her name is Anne Horak!

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Rich legacy… Sweet Charity is the only musical conceived, directed and choreographed by Bob Fosse that has a book by Neil Simon (adapting the screenplay for the Frederico Fellini film Nights of Cabiria), music by Cy Coleman and lyrics by Dorothy Field. The show has a rich legacy, debuting on Broadway in 1966 starring the beloved Gwen Verdon who had already created the roles of Lilo in ‘Can Can’, Lola in ‘Damn Yankees’, and a decade later, Roxie Hart in ‘Chicago’. A revival in 1986 starred Bebe Newirth.

 Lots of laughs… Charity Hope Valentine wants to be loved. She is a ‘social consultant’ at a dance hall, a sordid occupation from which she desperately wants to escape. Rejected and abandoned by her current boyfriend, Charity stumbles into a relationship that forces her to confront the truth of her existence, a decision that could certainly threaten her future with the new man in her life. Although Charity may be a bit misguided, she is genuinely truthful and wants to do the right thing. There are a lot of laughs along the way in this terrific production directed and choreographed by Alex Sanchez.

Multi-faceted gem… Anne Horak’s self-effacing performance is a force of nature bringing a Broadway-sized talent to the intimacy of Marriott’s stage. Horak delivers a multi-faceted singing, dancing, comic gem. Alex Goodrich’s hyper-active, uber-sensitive Oscar Lindquist falls head over heels in love with Charity. The two are perfectly cast in this highly-paced, finely-tuned production.

Explosive energy… The professional company is filled to the brim with talent. The commanding Adam Jacobs (Vittorio) delivers a stirring ‘Too Many Tomorrows’. Horak combines with Dani Spieler (Nickie) and NaTonia Monet (Helene) in the poignant ‘There’s Gotta Be Something Better Than This’ while Spieler and Monet roll it out in ‘Baby Dream Your Dreams’. The explosive energy of Kenny Ingram (Daddy Brubeck) is on full display in the show-stopping company number ‘The Rhythm of Life’. Sanchez and Assistant/Dance Captain Laura Savage’s choreography soars with the iconic ensemble dance numbers ‘Big Spender’ and ‘Rich Man’s Frug’, the classic Fosse-infused triplet.

All signs lead to laughter… The spirited orchestra is conducted by Patti Garwood and visually, the Mieka van der Ploeg costumes and scenic design by Scott Davis combine with Jesse Klug lighting to set the stage perfectly from the Fan Dango to Vittorio’s lush suite, and the hotel elevator, a showcase scene for the comic talents of Horak and Goodrich. All signs lead to laughter, fun and a night of non-stop entertainment.

PHOTOS|Michael Brosilow

Marriott Theatre Lincolnshire
Presents
Sweet Charity
through October 28th
Ten Marriott Drove, Lincolnshire
(847) 634-0200

WEBSITE

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PICKSINSIX Review: MURDER FOR TWO

‘MURDER’ is a “Perfectly Lovely Surprise!”

The (usual) Suspects... You already know judging from the title that "Murder for Two" - now playing at the Marriott Theatre Lincolnshire - involves at least one murder which occurs as the surprise birthday party for mystery novelist Arthur Whitney is about to begin. Early on we meet The (usual) Suspects including the victim’s wife, a prima ballerina, a wheel-chair bound psychiatrist, a feisty old couple, a demur wanna-be caper-cracker, a fireman, and a 12-member boys choir, of which all but three are elsewhere.

Strap yourself in... Officer Marcus Moscowicz, who is vying for a promotion to detective, is quickly on the scene with his partner Lou and determines that everyone has a motive. What is unusual about The Suspects, is that they are all played by one actor. In case you are thinking that there is no way all this can possibly happen in the course of 90 minutes, strap yourself in for a comic tour de force directed by Scott Weinstein. 

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Rollicking madcap musical mystery... This two-hander – which is more like a 26-hander, not counting two more thrown in for good measure along the way – originated in New York at Second Stage Theatre, had its world premiere at Chicago Shakespeare (2011 Jeff Award for Best Musical) then again to New York and a national tour. With book and music by Joe Kinosian and book and lyrics by Kellen Blair, Murder for Two is a rollicking madcap musical mystery sendup energized in the Marriott production by the stellar performances of Noel Carey and Jason Grimm - a pair of amazingly gifted actors and musicians with superb comic instincts – who work terrifically well together.

Seasoned flair... Protocol says that the plot will not be revealed, so this ‘Murder’ is, and will remain, as one of the many tuneful songs confesses, a “Perfectly Lovely Surprise!” Carey brings a seasoned flair and single-minded energy to Moscowicz, a role that he has played on national tour. Weinstein has expertly matched Carey with the explosive Grimm, whose out-of-body, split-second transformations appear effortless. When the two are not trading verbal banter at breakneck speed, they accompany each other on the grand piano – often both at the same time – under the artful musical direction of Matt Desitchman.

Stage set perfectly... All of the mayhem is staged in the round on an exquisite Scott Davis multi-level interior set that has more than a few special features allowing the story to ingeniously unfold so that every seat is the best in the house. With sound design by Robert E. Gilmartin, lighting by Jesse Klug, costumes by Emily Arnold and music supervision by Patti Garwood, the stage is set perfectly for a non-stop evening of entertainment.

Funny business... Things get started right away so if your head is buried in your program or you are running late, you may miss some of the funny business. There is plenty of convenient free and low-cost valet parking and many dining options in the area to help make Murder for Two a not-to-be-missed summertime treat.

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
MURDER FOR TWO
through August 26th
10 Marriott Drive, Lincolnshire
(847)634-0200
WEBSITE

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