Journalist, Author & Syndicated Columnist
“Because I have a lot of property and horses, I am always moving something heavy and rarely sitting down,” says Linda Eder, who’s best known for her work on Broadway in “Jekyll & Hyde.” “I also like to do home remodeling, which is hard work. I’m always overdoing it. So when I go on vacation I like to really go on vacation — meaning I like to rest, without too many distractions. I like to lie in the sun by the ocean, eat great food and relax.”
There are some of us who lived through the 1970s who not only loved the soundtrack of that era, but also have fond memories of that decade’s music–even schmaltzy numbers such as “You Light Up My Life,” “I’m Not in Love” and, yes, “I Write the Songs.” So it’s not surprising that Rick Seeber came up with “8-Track, the Sounds of the ’70s.” What is unfortunate, however, is that the director either had too little time to craft an innovative stage production or just didn’t care enough about the music to attempt doing it justice.
If there was anything lacking at the Blue Man Group’s “Complex Rock Tour” Saturday night at the Rosemont Theatre, I didn’t notice. PVC pipes, Judy Jetson dresses and an odd little trio of bald, blue men. …What more could you ask for in a rock ‘n’ roll concert?
Long before “La Cage Aux Folles,” “Tootsie” and the much-maligned “Bosom Buddies,” Tony Curtis and Jack Lemmon were making like women in “Some Like It Hot.” Curtis returns to the gender-bending format in the musical version of “Some Like It Hot,” which opened Tuesday night at the Rosemont Theatre. This time around, instead of playing one of the randy young men posing as a woman, he portrays a randy old man who falls in love with one of the women who really is a man.
You know Jeremy Piven. Or at least you think you do. Chances are you attended Evanston Township High School with him, or were in acting classes with him at his parents’ Piven Theatre Workshop, or knew someone who knew someone who did.
“Blast!” represents every band geek’s revenge. Though the show evolved from the routines of the Star of Indiana drums corps, make no mistake about it. This is no school production and there are no nerds in “Blast!,” which just opened at the Ford Center for the Performing Arts, Oriental Theatre.
Gina Oswald is a fictional character, but you’ll recognize her immediately when you see her cheesy schtick in the Noble Fool Theater’s revival of the holiday revue “Roasting Chestnuts: Oy! It’s Christmas.” She is the performer whose insincerity rings through with every verse. She is the entertainer who doesn’t realize her moment has long since passed. And to her whipped co-stars, she is the lipsticked tyrant who rules her brood with an iron fist.
Savion Glover’s lean, nimble legs whip across the stage in a way that defies speed. But it’s when he slows down that the viewer is able to fully relish each syncopated, seemingly effortless step. With his trademark locks flying and amplified tap shoes pounding away, he creates music as much as dance. With “Bring in ‘Da Noise, Bring in ‘Da Funk,” the Broadway production that won the performer a Tony Award for choreography six years ago, Glover attempts to educate as he entertains. He tells the story of the African-American experience through a series of vignettes ranging from lynchings, to race riots, to everyday racism in the form of cabbies refusing to pick up black passengers.
The Fantasticks” is a charming musical set during a time when walls were able to keep young lovers apart and parental matchmaking was an accepted form of courtship. Tom Jones (no, not that one) and Harvey Schmidt wrote “The Fantasticks” for a summer theater production at Barnard College. It opened Off-Broadway in 1960. The longest-running musical in the world, it closed in New York in January after 17,162 performances over the past 42 years.
Jinkies! The Scooby gang is up to it again in this delightful theatrical production of “Scooby-Doo! in Stagefright–Live on Stage.” Presented as a long-lost episode of the late 1960s cartoon series, the production no doubt was concocted to drum up interest in the film version of the series, which will premiere in June. A trailer for the movie starring Sarah Michelle Gellar and Freddie Prinze Jr. was shown during intermission.
John Lithgow has grown accustomed to hearing fans tell him how much they loved his stage productions in Chicago. The funny thing, though, is the stage-trained actor has never performed onstage here. Until this weekend, that is, when he stars in “Sweet Smell of Success” at the Shubert Theatre.
Doris Walker is not a happy woman when we meet her in “Miracle on 34th Street.” Abandoned by her husband, she juggles her career as an events coordinator at Macy’s while raising a precocious daughter, who is growing up to be just like her. Doris has no time for a social life or, apparently, shopping. She is frazzled, tired and–even sadder for a Macy’s employee–badly dressed. But who’s got the time to take advantage of an employee discount when you’ve got “a holiday to run,” as Doris points out.
The dancer is fetching in her slinky bra and harem pants. She has a splash of bright pink lipstick on her puckered lips and she pirouettes prettily for the audience. Unfortunately for the men in the audience, this isn’t one of the leggy, yet wholesome Rockettes kicking up her heels in this number. Rather, it’s a dancer dressed as a ballerina bear in the “Radio City Christmas Spectacular starring the Rockettes” currently running at the Rosemont Theatre.
Previous productions of “Joseph and the Amazing Technicolor Dreamcoat” didn’t seem as fun or entertaining as the current incarnation, now in an open run at the Royal George Theatre. Granted, this staging of the Andrew Lloyd Webber musical is much scaled down from the 1993 production starring Donny Osmond at the Chicago Theatre. But this version–the first non-touring commercial production to be granted rights for use of updated material–has a good time interpreting Lloyd Webber’s kitsch.
Two bicyclists, a chair and a tightrope. No, that’s not the name of a new ABC sitcom, but the components of the most thrilling act at this year’s Ringling Bros. and Barnum & Bailey circus, which opened Wednesday night at Allstate Arena. Madrid’s Quiros High Wire troupe easily stole the show–not a simple feat considering the competition, which included dancing horses, impeccably trained elephants and the freakishly talented acrobat who, suspended from the ceiling by just her hair, juggled flaming batons.
“Toy Story” begins in a young boy’s bedroom. When the household isn’t looking, the toys come to life. Their feelings mirror that of human beings. They get jealous, flirt and long for home. All the favorites from the movie version are here, though Woody the cowboy is more loose limbed and fey than his big-screen counterpart. His rival, Buzz Lightyear, doesn’t realize that he’s a toy and believes that he actually is a space ranger. Had he looked in the mirror, the big-chinned toy would’ve realized that he really was Jay Leno’s doppelganger.
A youngster, a stripper and gangsters galore mix things up in the Birmingham Royal Ballet’s latest production, “Jazz Triple,” the uniquely inventive ballet program that will be presented Tuesday through Oct. 7 at the Auditorium Theatre.
Fop by day, dashing hero by night, Sir Percy is the central character in “The Scarlet Pimpernel,” a swashbuckling musical comedy set during the French Revolution. That’s right. Swashbuckling. Musical. Comedy. Of the three elements, the comedy works best in this play, where the generic music does little to set the tone. The production–which opened Wednesday night at the Shubert Theatre–comes courtesy of Frank Wildhorn, whose other weird musicals include “Jekyll & Hyde” and “Civil War.” His musicals have a strong pop edge that don’t fit the period pieces he’s trying to create.
You’d think that “Chicago”–which promises to tell the story of murder, greed, corruption, violence, exploitation, adultery and treachery–would be a bit of a downer. But throw in a Tony Award winning score by John Kander and Fred Ebb, some sexy choreography by Ann Reinking and a couple of celebs well-known to sitcom fans, and you have a musical in which the overall flashiness cloaks the underlying darkness of the play’s theme: That you’re only as important as your last 15 minutes of fame.
Move over, Cher. Minnie Mouse is in town, and she’s sporting a Bob Mackie gown that you’d die for. The beloved Disney character was just one of dozens Wednesday to glide into the Allstate Arena for the opening night of “Disney on Ice.” Classy ice shows usually are an oxymoron. But this production was a splendid affair, with gorgeous costumes, striking sets and a cast of skaters who did a formidable job of re-creating some of Disney’s best-known animated characters. Sure, there were some aborted jumps and falls that wouldn’t happen at competitive-level ice shows. But then again, those athletes don’t have to perform wearing rubber masks and cumbersome costumes.