PicksInSix Review: Brigadoon - Music Theater Works

Movement and Music Channel the Myth.
PicksInSix® Review | Guest Contributor | Scott Gryder

A lush lullaby of music lured the audience into the North Theatre at the North Shore Center for the Performing Arts in Skokie for the opening of the Music Theater Works production of the Lerner and Loewe classic “Brigadoon.” An ethereal pastoral landscape, swirling with misty enchantment, set the tone for the story of wonder, witchcraft and love ahead.

The legendary story of Brigadoon follows two wandering New Yorkers, Tommy and Jeff, traveling across the Scottish Highlands. After losing their way, their curiosities are piqued by the entrancing sounds coming from the vague image of a village tucked within the haze of the hills and absent from their map. What the two men find beyond the melodious voices is the secret village of Brigadoon, whose magical fate is to only appear every hundred years, defying time and space. Stumbling into Brigadoon, Tommy and Jeff not only discover an astonishing living time capsule of community, but they are also faced with deciding whether the lives they’ve left behind are worth trading for the magic they’ve found.

The cast of “Brigadoon” delivers a pleasantly proper portrayal of the tradition that is American Musical Theater. Leading man Conor Jordan brings a tenacious tenor to Tommy Albright, not just in his brash voice but with his heroic physique and protagonistic drive. Adding finesse and flare to the leading couple is ingénue Fiona MacLaren, played by Sarah Obert with a vocal beauty that could enchant all of Scotland to make their way directly to their hidden village. The leading couple shares a romantic fire that’s lit not with a conventionally saccharine enthusiasm but with a sincere investment of newfound potential. It’s the sarcastic Jeff Douglas of Zachary Linnert and whimsical wit of Timothy Wolf’s Mr. Lundie that ground the story in levels of their respective realisms. Linnert brings a keen honesty to Jeff’s text and predicaments, concisely hitting notes of humor and revelation with ease. And Wolf’s Lundie is lovably expounding throughout, despite the rants and rhymes of could-be lunacy.

Much like the mythical village of Brigadoon, Lerner and Loewe’s melodic Great American Songbook contributions have also stood the test of time with such beloved standards as “There But For You Go I" and “Heather on the Hill” to the catchy “Almost like Being in Love” and “Come to Me, Bend to Me.” Although the book of “Brigadoon” can be plodding and predictable at times, what director Sasha Gerritson does to help lead this production, beyond harmoniously staging across a myriad of times and places on one nearly static set, is to fully engage the ensemble. It’s obvious that Gerritson took the time to instill backstory and intent for each character, so the considerable ensemble isn’t just living wallpaper, they are alive in each moment.

What truly enhances the storytelling most is assistant director Clayton Cross’s choreography. As is the case with most musicals, when words fail the characters, they burst into song; however, Clayton’s choreography, ranging from fun and fanciful traditional Scottish dance to elegantly executed ballet, fiercely embodies the emotional mood of the musical numbers. Even when there are text breaks, and there is only music, the story continues to be told through Cross’s movement. Perfectly partnered with the choreography is the period costuming by Jazmin Aurora Medina, utilizing warm tartan prints and playful floral patterns to create a tone of history, tradition and mirth. And Ann Davis’s set design so rustically recreates the bewitching landscape of the Scottish Highlands, complete with a multi-level cobblestone bridge, that any wandering traveler would be hard pressed to refuse giving in to the enchantment of Brigadoon.

Solid serenading and energetic choreography guide us down the winding path to the otherworldly village of Brigadoon, whisking an audience away from the cares of everyday life and into an alternate reality. If you’re looking to escape into the spellbinding delights of the foundational canon of musical theater, then follow the sounds of the musical moors to Music Theater Works production of “Brigadoon.”  

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

PHOTO|Brett Beiner

MUSIC THEATER WORKS
presents
Lerner and Loewe’s
BRIGADOON
through November 12
North Shore Center for Performing Arts
9501 Skokie Blvd., Skokie

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PicksInSix Review: Love, Chaos, and Dinner - Teatro ZinZanni

Experience the Under the Tent Talent!
PicksInSix® Gold Review | Guest Contributor | Scott Gryder

The flaps of the 100-year-old Belgian mirror tent were pulled back to unleash another spectacular evening of entertainment at Teatro ZinZanni’s “Love, Chaos & Dinner” A reddish glow burned brightly at the heart of this gem-of-a-venue, as guests were enthusiastically led to their tables, where jaws were soon to be dropped, sides were guaranteed to be busted, and minds were sure to be blown.

Inside the splendid Spiegeltent ZaZou, Teatro ZinZanni’s “Love, Chaos & Dinner” revitalizes the essence of a bygone performance style. It brings to Chicago the searing drive of the famed Moulin Rouge, yet these acts are dripping with the intensity of a metaphorical absinthe hallucination. Teatro ZinZanni’s presentation is threefold: a dining experience featuring inventive menu items, playing off old standbys; gags and scenes presented with a whipping wit; and featured performances crackling with a hip vitality.

The cast of Teatro ZinZanni embodies the full flair and inventiveness of all of today’s talent show-based television in full, living color! And each world-renowned talent works beyond double-duty. Not only do they fully immerse themselves in the audience experience by participating in the pre-show cocktail hour, but they reveal developed backstories throughout the performance. It’s a wise tactic, because the audience becomes so personally invested in each character, they are that much more overwhelmed when their newfound friends transition into feats of strength, agility and ability beyond expectation. Leading this mayhem are the dueling divas. Sa'Rayah’s volatile vocals as Madame Z literally shake the rafters, gifting us with her grace and power. To put it bluntly, Sa'Rayah is sonantly stunning and can sing absolutely anything, whether she’s performing peripherally or burning the tent down in a featured number.

Complementary to the bombastic Sa'Rayah is the bawdy bon vivant, comedian & magician Lucy Darling. Darling stirs up a concoction of playful decadence, toying with audience members throughout using her sharp, improvisational charm and impish magic. From the liquid marble-like contortions of Ulzii Mergen and the nimble dribbling of basketball juggler Michael Evolution, to the daring danglings of aerialists Lea Hinz and Danila Bim and the palpable heat of trapeze tour de force Duo 19, one’s jaw seems to be permanently dropped for the length of the performance. Which only works in everyone’s favor, for just as each segment climaxes, it’s time for another dinner course break.

The Teatro ZinZanni experience isn’t just what’s found within the tent. As soon as one steps out onto the 14th floor of the Cambria Hotel, the warmth from the front of house staff to the mixologists is one of sincere appreciation and acceptance; all are welcome and encouraged to be their authentic self in this space celebrating truth, beauty, freedom, and love. Each host, server and runner is approachable and genuinely attentive, revealing proof of community. “Love, Chaos and Dinner” encapsulates such a veritable menagerie of artforms and performance styles, it truly is fun for the whole family; however, the level of ribald riffing might make it more suited for the more adult centric celebration or date night.

And it’s not just the talent onstage that generates the evening of euphoric fancy. Creator Joe De Paul has assembled a team of designers that intimately infiltrate the senses. Within the velvet and glass-lined walls of the tent, scenic designer Shauna Frazier elevates each act with a hydraulic stage, sending performances dancing along the mirrored walls like an enveloping zoetrope. At first sight, costume designer Debra M. Bauer visually transports us with a bohemian-meets-80’s glam aesthetic, combining a historic sophistication with an energized vim that would make Bob Makie take note. And Theodis Rogers, Jr’s band of musical maestros layer on an audible icing throughout, bringing a sublime phonic cohesion to every bit and performance. Spotlight on guitarist Phil Seed, who’s siren sound highlights and commands emotional attention. And each theatrical beat is delivered on a literal choo-train of treats by production director Maggie O'Donnell, brilliantly drawing focus throughout every corner of the tent to smoothly transition between each act and course without wasting a moment of the three-hour experience.

The evening was filled with exactly what Teatro ZinZanni promised: madcap, farcical chaos; passionate, stirring exploits, and a prix fixe menu to delight all palates. It’s said that there are only six of these Spiegeltents in the world, and it’s no surprise that the Second City is home to one as Chicago is known for delivering outstanding entertainment. I dare you to get dressed to the tens, take in the sights and sounds of Teatro ZinZanni, and not find yourself elbows glued to the table and slack jawed in memorization.  

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

PHOTO|Samuel Rose

BONUS CONTENT
CONVERSATIONS PODCAST - Kerry Sheehan, Teatro ZinZanni Chicago’s General Manager and Producer, joined the CONVERSATION to talk about “Love, Chaos, and Dinner.”
Listen on Apple Podcasts and Audacy.

TEATRO ZINZANNI CHICAGO
presents
LOVE, CHAOS, AND DINNER
Speigeltent ZaZou
Cambria Hotel
32 West Randolph
14th Floor
Open Run

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PicksInSix Review: The SpongeBob Musical - Kokandy Productions

We All Belong At The ‘Bottom’
PicksInSix® Review | Guest Contributor | Scott Gryder

Waves of gleeful Hawaiian melodies welcomed the patrons into the Chopin Theatre’s basement black box for Kokandy’s 2023 Season kickoff production of Nickelodeon’s “The SpongeBob Musical.” Bathed in buckets of coral, curtains of kelp and barnacled pillars, the audience floated into the bubble-filled venue, while a cartoon montage of the most recognizable SpongeBob characters dashed across shower curtain screens. Submerged in this experiential environment, the venue was brimming with excitement for the underwater opening night adventure to come.

“The SpongeBob Musical,” based on the television series by Stephen Hillenburg, doesn't just tell the story of the titular character, SpongeBob Squarepants, it’s a deep dive into the animated ecosystem that thrives in Bikini Bottom, a fictional underwater city. We meet the characters at the start of a typical Bikini Bottom Day, but the waters soon heat up when the seemingly inevitable eruption of a nearby volcano, aptly named Mount Humongous, threatens the city’s very existence. Faced with their impending doom, “SpongeBob” challenges its cast to band together to find their strength to fight or fly together.

Kicking things off and setting the buoyant bar is Patchy the Pirate, played with plundering aplomb by David Lipshutz, whose puns had the audience hooked from the start. Through a revolving door-style opening montage, we’re whirlpooled through introductions of Bikini Bottom’s inhabitants. From the moment we meet Frankie Leo Bennett’s SpongeBob, we are absorbed by his exceedingly optimistic vitality. And Bennett maintains that same positivity and certainty throughout; both driving his character and energizing the audience. Tempering the spirited tenor of Bennett, Isabel Cecilia García brings a fresh new take with their Patrick Star, less overtly dense than the source animation’s personality and more lovably clueless. Quinn Rigg’s Squidward expertly captures the original cartoon’s Paul Lynde-esque vocal affectations, while fully embodying the cephalopod’s tentacled punctuations. Rigg’s build-up to the explosive, self-celebrating/deprecating showstopper doesn’t “not not” suck in the best way. Most endearing was Sarah Patin’s Sandy Cheeks, who’s land mammal was so refreshingly grounded (pun intended) in the stakes of each moment. Patin shares acorns of truth anchored in such reason that the most outlandish of scenes and scenarios seem completely legitimate. Thwarting our heroes most maniacally and quite fashionably are the diabolical duo of Sheldon J. Plankton and Karen the Computer, played by smashingly villainous Parker Guidry and adorably hesitant hench-device Amy Yesom Kim. And as the script demands, Jennifer Ledesma truly wails every time she belts and riffs as Pearl Krabs. But Bikini Bottom wouldn’t be the aquatic entertainment success it is without the tidal wave of ensemble casting. They school so stylishly through scenes, splashy dances and brisk costume changes, there must be something sustaining in the water.

JD Caudill expertly steers the epic adventure of “The SpongeBob Musical,” teeming with sight gags and continually flooded with stage activity. Even under the frenetic pacing of the plot’s many twists and turns, Caudill never misses an opportunity to extract a brilliant bit. Though set in a more traditionally proscenium style, the pillars, though deep-sea designed, created a few momentary sightline issues. But with a cast mostly moving at a circus tent speed, not too many moments were lost. And the additional use of aisles for entrances and exits inspired the audience to be fully immersed and invested in the action.

With music direction by Bryan McCaffrey, “SpongeBob’s” band is a surge of sound, executing a variety of musical stylings, featuring songs by over a dozen songwriting legends, without missing a beat even if, at times, overpowering the singers and losing the vocals in the wash of sound. But the most treasured noisemaker of all is Foley artist Ele Matelan. Every squish, bounce and awooga was infused with subtext. Jakob Abderhalden’s costume designs made of mixed fabrics, textures and patterns were as captivating and motley as you’d expect from any underwater canyons or amazing coral reef snorkeling exploration. Along with scenic designer Jonathan Berg-Einhorn’s aforementioned undersea achievement, G "Max" Maxin IV’s lighting design accents every gag and caper with toon timing. Combine that with the earthquaking sound design of Mike Patrick, and the audience enjoys a fully immersive, almost theme park-like, sensory experience.

The themes of marine conservation and caring for one’s neighbors bubble to the top of many political and personal conversations across our country today, and “The SpongeBob Musical'' enthusiastically tackles both, making it relevant nearly a decade after its world premiere. What a treasure it would be for a tuneful musical to turn the tides to healing for these topics. Whether you grew up watching the wacky adventures of the yellow protagonist and his friends from SpongeBob SquarePants, or you’ve just landed in Bikini Bottom for the very first time, audiences of all ages are sure to be as happy as a clam after catching Kokandy’s “The SpongeBob Musical.”  

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

PHOTO|Evan Hanover

KOKANDY PRODUCTIONS
presents
Nickelodeon’s
THE SPONGEBOB MUSICAL
The Chopin Theatre
1543 W Division St.
through September 3, 2023

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PicksInSix Review: In Every Generation - Victory Gardens Theater

Inherited Trauma Blooms Over Every Generation.
PicksInSix® Review | Guest Contributor | Scott Gryder

Performances returned on Friday night at the historic Victory Gardens Biograph Theater with the world premiere of Ali Viterbi’s reflective “In Every Generation,” the first production on the Začek-McVay Theater stage in over two years! To make the production even more memorable, the packed house filled the theater from all angles, as the Začek-McVay Theater offered on-stage seating, creating an in-the-round effect, heightening the intimacy of our invitation to the Levi-Katz’s Passover Seder.

The tension is palpable from the moment the first lighting cue reveals the Levi-Katz family facing off at the center stage dining table as they prepare to celebrate the Jewish holiday of Passover. “In Every Generation” quickly evolves into an exploration of the inescapable familial lineage of tradition and trauma, both inherited and learned, over multiple millennia. Across every age, each generation is faced with fears of persecution for their beliefs, their dreams, and their family’s expectations.

The obvious strain between sisters Dev (Sarah Lo) and Yael (Esther Fishbein) are the kindling for the family fire. The sisters manipulate and torture with subtext and good-intentioned backhanded compliments, finally erupting with hostile truths as secrets are revealed. The girls’ distracted and emotionally unavailable mother Valeria (Eli Katz) barely holds it together, wrestling with her personal anguish while attempting to meet familial pressures to uphold Jewish tradition. And Italian matriarch Paola (Carmen Roman) holds court, while holding the hand of her ailing husband Davide (Paul Dillon). Dillon’s subtle, yet always-active portrayal of the aphasic patriarch is breathtaking.

Thanks to the abundant availability of at-home DNA testing, anyone can fully explore the genetic details of their personal history; where they come from, who they come from, and, potentially, how that helped shape them into who and where they are today. Playwright Viterbi spotlights these eternal, internal questions in all four parts of her flashback/flash-forward script. However, the plot seems to splinter with each time-jump, creating moments of fractured dialogue incorporated from previous timelines and the reveal of props from eras yet to come. As the characters evolve (and devolve) through the phases of their lives, depending on where we’ve landed in their moment in time, Director Devon de Mayo aids in delineating each leap by utilizing stylized physicalizations and vocal textures.

The immersive experience doesn’t end with the in-the-round seating. Co-scenic designers Andrew Boyce and Lauren Nichols bring the audience into the scene by pouring pools of sand strategically across the stage, even underneath the feet of the first rows of patrons. As a time-travel visual compass, Heather Sparling’s lighting design plays with warm oranges and yellows or cool whites and blues within each separate period to help transport us across generational timelines. What really added layered connection between characters was the guidance of intimacy coach Courtney Abbott. Nobody held back when it came to sharing their space onstage. For example, the actors embraced with such passion, you believed that they truly knew each other; were completely in love and committed to their relationships.

“In Every Generation” may be centered around a Jewish tradition, but the investigation of one’s intentions behind traditions and the mysteries of inherited trauma are universal. And it unites the audience, by highlighting the shared questions we have behind the human condition, no matter which generations, across every generation, reminding us that it’s only natural to question our own existence and to examine the true motives behind our behavior. 

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

VICTORY GARDENS THEATER
presents
National New Play Network Rolling World Premiere
IN EVERY GENERATION
2433 N. Lincoln Avenue
Chicago, IL 60614

through May 1, 2022

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DIGITAL PROGRAM

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PicksInSix Review: Sea Change-Cabinet of Curiosity

A Deep Dive Trident of Tales
Guest Contributor | Scott Gryder

The 4th Chicago International Puppet Theater Festival opened with a literal splash last night at the MCA Chicago, with Cabinet of Curiosity’s Sea Change, a trilogy of sea stories from an all-female writing team and cast. The festival's opening night performance was packed to the gills with industry professionals, fans, and puppeteers. It was a great gift to be a part of Chicago’s return as a hub for the art of puppetry.

Featuring a parade-style whale-of-a-puppet, the trident of tales opens with Lindsey Noel Whiting’s "Whale Song,” encouraging the audience to evaluate where we are, how we see ourselves in the grander scheme of life, and what ‘monsters’ we’re going after…if any. Next, the elegant yet chilling mermaid puppet of "A Mermaid's Tail (If There's a God)" by Bethany Thomas, with music and lyrics by Liz Chidester, reveals the truth behind mermaid-life and legend. Wrapping up the set, Kasey Foster’s “More” is a ruminating, illuminating direct-address by an epic, floating moon puppet reminiscent of Georges Méliès' A Trip to the Moon, while a frenetic shark dances wildly.

The energetic cast of Sea Change (Sadie Rose Glaspey, Kiley B. Moore, Silvita Diaz, Holly Carney, Alexis Willis, Shay Turnage, Annabella Tuma, Olivia Comai, Ivy Waegel, Michelle Billingsley, and Ranae Adams) provides live, musical accompaniment and clear singing voices, enthusiastically jumping between storytelling and general “life at sea” shenanigans as the crew sails on adrift. What might have improved the storytelling would have been more succinct manipulation and realistically choreographed buoyancy of the puppets. For example, many times throughout, the audible speech and visual mouth manipulation were out of sync. Also, considering the skillfully designed puppets, and the naturally flowing artistry of real sea life, there were missed opportunities for the puppets to be used to their full malleability.

Founded only 5 years ago, Cabinet of Curiosity has become a Chicago standard for detailed puppetry and found object manipulation. And in a time where society, especially within the performance community, is feeling isolated, Cabinet of Curosity’s mission to celebrate togetherness shines bright with the immersive experience that is Sea Change. And it only makes sense that the production is being hosted at the MCA, because puppet makers Ellie Terrell and Jesse Mooney-Bullock have created manipulatable works of art. Each creation is realistically jointed and mobile, with a subtle and breathtakingly watercolor-like fabrication.

Originally developed as an indoor spectacle, Sea Change experienced a limited, outdoor run over the summer of 2021. Here, director Frank Maugeri thrillingly fills every visible inch of the MCA’s Edlis Neeson Theater with puppet activity; however, at times the audience interaction becomes distracting. Sea Change is textured with design as the audience travels from the height of the Cook’s crow’s nest-like kitchen to the lower depths of the deep, with Conner Sales’s washes and pockets of portholed light and shadow, and the charmingly sea-weary scenic elements of Jack Dwyer, Nana Asabere, and Tom Robinson. Jillian Gryzlak’s patchwork costumes highlight the clowning style of the cast, and the audience was tickled by visual surprises by mechanical designer Milam Smith, such as a bikeable, bubbling piano.

In its 4th year, and against all pandemic odds (ie. due to travel restrictions, this year’s roster features national and local artists), now through January 30th, the puppet festival boasts over 70 slated performances across Chicagoland. And, it’s official: starting this year, the festival is slated to occur annually, so Chicagoans can look forward to hosting puppeteers from around the world of the highest caliber. Tickets are on sale now at chicagopuppetfest.org.

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

PHOTO|Cabinet of Curiosity

4th Annual
Chicago International Puppet Theater Festival

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PicksInSix Review: Love Actually? The Unauthorized Musical Parody

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Laughter, Actually, Is Here In Chicago!
Guest Contributor | Scott Gryder

If you search online for the most popular holiday movies of our time, Richard Curtis’s 2003 Love Actually is found in the top 10 of multiple lists. Love Actually? The Unauthorized Musical Parody, now playing at the Apollo Theater through January 2nd, only enhances the original, beloved plot. Whether you’re a diehard fan of the movie, or even a casual lover of general pop culture, Love Actually? will tickle your tinsel!

With the fast-paced hullabaloo execution of Rowan & Martin's Laugh-In, the musical parody Love, Actually? delivers character work harkening back to the genius of Forbidden Broadway, but with a punchier, indelicate wit. Based on the iconic holiday hit, writers Bob and Tobly McSmith resourcefully recreate the rom-com using the names of the actors who originated the roles of each character, resulting in comic gold. And Basil Winterbottom’s music charmingly clips along, making sure that no gag or moment overstays its welcome.

Of course, in order to recreate a Hollywood star-studded cast, you must assemble an all-star, all-Chicago ensemble, who can mutate through an assortment of recognizable character parts with a precision that would make the cast of SNL turn holly green with envy. Each celebrity character was brought to life by Ann Delaney, Jake Elkins, Ryan Foreman, Dan Plehal, Amanda Walker, and Christopher Wayland with almost frightening accuracy, not to mention the required use of a wild variety of accents coupled with musical prowess. Considering the level of commitment required to counterfeit the famous mannerisms and vocal stylings of each celebrity, layered over the practical physical demands of quick-changes unseen by the audience, I was floored to be reminded at curtain call that this entire circus of over 50 characters was brought to life by a mere six performers.

I was initially apprehensive as soon as the first mock celebrity sighting landed center stage. Could frenetic humor at this level sustain itself? Would it grow wearing over the next 85 minutes? In short: no! Not only were the scene transitions technically seamless, with the choreographed use of minimal props and furniture, but the minute the laughter began to subside, another sparkling impression or ludicrous lyric would catch the audience off guard. And music director Ethan Andersen and sound designer Matthew Fischer present this unfamiliar musical material with clarity and understanding through precise diction and balance.

Director Tim Drucker pushes the limits of absurdity with a driven, commedia dell'arte-style physicality, while Brooke Engen’s choreography (originally co-choreographed with Tiffany Engen) refreshes musical theater conventions with a made-for-TV holiday special shine. Set designer Joshua Warner’s farcical element of festive red doors trimming a stunning proscenium-size glitter-wrapped backdrop was a gift in itself; literally. And the ice-rink themed stage floor was a whimsical holiday touch. Brandon Baruch’s brilliant lighting was not only practical, assisting in the execution of flowing transitions, but it served as a comical tool in and of itself, highlighting shenanigans and creating sight gags. Much like the famed backstage peek of Noises Off, one can only imagine that the action behind the scenes, juggling the magical layering of Dustin Cross’s costumes and Conor Donnelly’s hair/wigs, would be just as entertaining as the madness onstage. The flurry of Love Actually? joyfully jostles the audience as if we were inside a giant snow globe, being bombarded by “snowflakes” of sassy scenes and campy musical numbers.

So often, when catching a parody piece, I find myself hungry to watch the original source material; however, Love Actually? is such a winning tribute that I am actually wholly satisfied. If you’re looking for holiday cheer, give yourself the gift of Love Actually? The Unauthorized Parody Musical. Oh, and just try not to leave the theater working on your Keira Knightly smile... grimace?... smile.

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

PHOTO | Timothy M. Schmidt

Right Angle Entertainment
presents
Love Actually? The Unauthorized Musical Parody

Apollo Theater
2550 N Lincoln Ave
through January 2, 2022

TICKETS

(773) 935-6100

CHICAGO CAST

SHOW WEBSITE - CHICAGO & NEW YORK

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PicksInSix Review: Hundred Days

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Embrace the Brief Melody of Life.
Guest Contributor | Scott Gryder

The Chopin Theatre’s thrust-turned-cabaret was washed in red last night, and not just with a backdropped curtain and draped pedestal tables, but also with the vibrant glow of excitement from the audience. Even the cast bounded throughout the open floor layout in a pre-show performance of its own, tuning instruments, acknowledging familiar faces and friends across the theater, and connecting with each other onstage in an almost ritualistic manner. The pandemic lamentably forced the Kokandy production of Sarah Gancher’s “Hundred Days” to close on its original opening night, but, with thoughts of mortality and the fragility of life at the forefront of most minds these days, this Chicago premiere was prepared to appear with renewed enthusiasm and relevance.

Based on the true love story of real-life folk-rock duo The Bengsons, known for adapting their personal stories for the stage, the heart of the piece is more of a musical memoir centering on the premonitions and musings of wife Abigail Bengson and the effects their actions have on others. The concertized theatrical format is markedly two-fold: monologues, with one scene, juxtaposed with song. However, with lyrics laden with repetition, attempting layers of subtext, you won’t find these in your traditional musical theater canon. Instead, these songs are more reminiscent of modern folk-rock groups like The Lumineers or Mumford & Sons. The setup between plot and music of “Hundred Days” is more paralleled to that of cabaret than a musical show, where the performers tell personal stories, while sprinkling in music that shares the intention of the story; however, the songs don’t move the plot along. Music Director Matthew Muñiz encourages this modern folk-rock sound and unconventional musical style, complete with fully-body yodeling and caterwauling, while cleanly layering in the tricky backup vocals of a bluegrass, Americana sound. Choreographer Collin Quinn Rice elegantly echoes the music’s harmonies and arrangements with mirrored and ceremonial movement.

Balancing a theatrical performance based on the lives of non-fictional characters can be a complex task, however, the enthusiastic, whole-hearted comradery of the cast approaches this challenge more like a trust exercise. Almost glazing over the fact that these actors are portraying real-life people, energy is focused on storytelling rather than establishing character; intention versus actuality. Sharing the bulk of the performance, both speaking and singing, Emilie Modaff (Abigail Bengson) is bold, brash, and yet highly sensitive and mercurial. Opposite Emilie, Alec Phan (rotating the role of Shaun Bengson, Wed/Thurs/Fri, with Royen Kent, Sat/Sun) is disarmingly, yet refreshingly, reserved and sedate. In the popular fashion of having cast members play their own instruments, the “Hundred Days” cast reveals solid vocal prowess and musicianship, smoothly rotating between instruments. I continually sympathized with percussionist Lucas “Looch” Johnson, for he was often left stuck behind a drum kit instead of participating in joyful group moments. Standout cast members were velvet-voiced Grace Bobber and energetic Brennan Urbi, both of whom shined in the musical style of the show.

Even though the plot follows the Bengsons spirited and unconventional three week relationship-into-marriage, leaving a fiancé and best friend in its wake, the limited opportunity for connection between characters within book scenes presented a lack of drama and conflict. Instead, the more relatable conceit of the show follows us out the door once the concert has ended: with only 100 days to live, what would you embrace? What would you do with the time you had left? And, for anyone who's ever loved and lost, who would you give your love to?

Focusing the majority of the scripted action downstage center, director Lucky Stiff embraces the concert setup of “Hundred Days” disregarding traditional direct address protocols, and sometimes cutting off parts of the audience to emphasize the confessional-like structure of the dialogue. Scenic design team Jackie Fox and Irena Hadzi Dordevic created an ambiance of intimacy and homeyness, using layers of rugs and hanging lamps. The low-level platform main stage structure, lined by a moat of salt—a somewhat overused metaphor within the piece—framing the lives of the characters in a clean yet almost caged playing space. Along with Fox’s original designs, lighting designer Henry Muller brought strong, rock concert washes of light to the stage. However, the heavy use of shadow along the peripheral sometimes left the ensemble in the dark, stripping away their muse-like efforts of participation. Virginia Varland’s costumes were contemporary and casual, with touches of hipster expression of frilled vests, floral prints, and the like. The challenge of balancing folk-rock vocals in such a close-up space, while also capturing the vocal and instrumental rock energy was not lost on sound designers Mike J. Patrick and engineer Patrick O'Brien, although, the lower vocals were sometimes drowned out by the power of the instrumentation.

“Hundred Days” wraps up with an enthusiastic ensemble number, almost negating the self-turmoil that had been explored throughout the piece; however, I suppose that’s typically how the human mind works—aware our time here is limited, but couldn’t fully function while processing that fact at all times. Instead, it’s mostly aware of the moment we’re in and, in a way, celebrating life. Similar to the 75-minute format of the show, the audience is reminded: life is short, embrace the music!

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

PHOTO CREDIT | Evan Hanover

KOKANDY PRODUCTIONS
presents the
Chicago Premiere
HUNDRED DAYS

Music and Lyrics by The Bengsons
Book by The Bengsons and Sarah Gancher
CHOPIN THEATRE
1543 W. Division St.
through January 9, 2022

WEBSITE

For more reviews, visit: Theatre In Chicago

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PicksInSix Review: Ajijaak on Turtle Island

“Your Voice Has Power. Use It.”

If you are one of those people who believe that a puppet show is only meant to entertain children, you have probably not yet discovered the Chicago International Puppet Theater Festival, presented bi-annually (and now in its third edition) with offerings that heartily live up to a promise to “astonish and delight.” At over a dozen venues across Chicago through January 27th, no less than 23 productions celebrate the unique performance art under the direction of Festival Founder and Artistic Director Blair Thomas.

Photo|Richard Termine

Photo|Richard Termine

Photo|Theo Cote

The 2019 Festival opened Thursday with Heather Henson's IBEX Puppetry production “Ajijaak on Turtle Island,” the family-friendly First Nations spectacle presented at the Studebaker Theatre in the Fine Arts Building in partnership with the American Indian Center. The play, written by Ty Defoe, who co-directed with Henson, combines Native American themes from the Ojibwa, Lakota and Cherokee with music, puppetry, dance and projections in an inspiring story about respect for our natural resources and the beauty of the world around us.

The story centers on the adventures of a young crane named Ajijaak, who is separated from her family after a fire. Alone and relying on the animals around her for direction and guidance, Ajijaak learns about the circle of life, the Earth's abundant yet fragile resources and the consequences of our decisions through an array of whimsical puppets and imagery.

“It was so awesome to watch the opening night performance of "Ajijaak on Turtle Island" at the 2019 Chicago International Puppet Theater Festival! Being a professional entertainer myself, I especially enjoyed the sing-along parts! And it was extra special to sit next to my new friend Olivia, because this was her first puppet show!”

Freddie The Puppet|TSGpuppetry
Special Correspondent
PicksInSix

It begins on Turtle Island, at a time when animals could talk to each other. Along her journey, a deer provides comfort, bison share friendship, and a wily coyote leads Ajijaak to a busy, sprawling urban center. She meets a rapping turtle and learns that in order to preserve resources we must only take what we can use -- particularly crucial advice for the colony of blue crabs when a hungry young crane is on the shoreline.

And when the Earth is threatened and the serpent Mishibizhiw emerges, Ajijaak has acquired the knowledge and skills to adapt to her surroundings to survive and restore order. It is not about the taking, she reasons, it is about the giving. "Your voice has power. Use it.” 

The talented cast of puppeteers, vocalists and dancers includes Tony Enos, Joan Henry, Wen Jeng, Adelman Polak, Sheldon Raymore and Henu Josephine Tarrant. John Scott-Richardson and Kevin Tarrant provide music (composed by Dawn Avery and Larry Mitchell, Tarrant and Defoe.) Jake Montanaro, Jennifer Sanchez, Euni Shim and Dormeshia Ward are the dancers. The intricate puppets, featuring a blend of hybrid marionette-and-rod and spectacle, parade-style designs, are creations of Jim Henson's Creature Shop from original storyboards and drawings by Heather Henson, daughter of Jim Henson, famed creator of ‘The Muppets’ and ‘Fraggle Rock,’ and over two dozen creatives and fabricators.

PHOTOS | Theo Cote & Richard Termine
Chicago International Puppet Theater Festival
WEBSITE TICKETS
For more reviews, visit: Theatre In Chicago
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