Journalist, Author & Syndicated Columnist
Think of “Blue’s Clues Live!” as the “Rocky Horror Picture Show” for the preschool set. But instead of getting dressed up like transvestites and throwing things at the screen, the tiny tots at the Rosemont Theatre on Friday night clutched their stuffed animals and shouted out answers to puzzles as the performers acted out a charming stage adaptation of the popular Nickelodeon children’s show.
“You must be in touch with your emotions if you expect to touch others,” a teacher says early on in “Fame–the Musical.” Too bad the writers of the play didn’t follow this advice. The play, which opened Tuesday night at the Chicago Theatre, wasn’t much of an improvement from the production that rolled into town last year. Full of cliches and stereotypes, the musical lacked memorable, well, music.
To parphrase ZZ Top, the Rockettes have legs…and they know how to use them. So it’s not surprising that the 18 leggy dancers were the stars of the “Radio City Christmas Spectacular,” which opened Friday night at the Rosemont Theatre. Displaying no first-night jitters, the Rockettes lived up to showman Russell Markert’s dream of forming a chorus line that moved and behaved as one dancer.
“Fatty Drives the Bus” sure sounds odd enough to be the followup to the Annoyance Theatre’s best known production, “Co-Ed Prison Sluts.” But the feature – which hits video stores today – actually marks the Chicago-based improv troupe’s first foray into film.
Calling itself “The greatest show on earth”–as the Ringling Bros. Barnum & Bailey circus does–is a bold claim to make at a time when Cirque du Soleil is captivating audiences with its sophisticated artistry, and Cher is touring with a team of spunky aerialists (and a battalion of wigs). Opening-night jitters Wednesday at the Allstate Arena may have been responsible for some missed tricks, but Ringling Bros., which was founded in 1871, still manages to put on an entertaining show year after year.
The adventurous impresarios at the Annoyance Theater have put some crazy stuff on their Wrigleyville stage, but no one could have anticipated this week’s radical stunt: They’re bringing a septuagenarian comedian to town. Charlie Callas, 71, will perform Wednesday and Thursday in the room that each weekend fills with beer-swilling twentysomethings catching the raunchy, long-running musical “Coed Prison Sluts.”
In her one-woman show “I’m the One That I Want,” Margaret Cho recalls how getting her own sitcom in the mid-1990s signified acceptance to her–for the first time in her life. What she didn’t realize then was that acceptance came with a price.
Perhaps the best way to present “Grease” from now on is on ice. Ever since Olivia Newton-John and John Travolta starred in the 1978 film version of the play, most productions of the musical have been overshadowed by memories of the movie. But when you’ve got skaters performing double loops and death spirals, you tend to forget about the film and lose yourself in the fun.
Deftly directed by Robert Johanson, who shows a keen eye for detail, the immaculately staged, 90-minute musical is a whirlwind of eye candy. With the collaboration of set designer Michael Anania, Johanson brings the scenes to life. One minute you see the cantankerous neighbor/witch flying high above the stage on her bicycle. The next, a farmhouse is furiously swirling through the epicenter of a tornado. All this sets the stage for the trip to Oz, where the kaleidoscope of colors are as bright as a rainbow and the onstage pyrotechnics just add to the fun.
Synopsis: Greaser Danny Zuko (Todd DuBail) has a summer romance with sweet Sandy Dumbrowski (Sandy Rustin). When they bump into each other in high school, Danny hides his true feelings for her because he’s afraid of looking uncool in front of his buddies. Trying to impress her, Danny joins the track team and becomes a letterman. But in the end, it’s Sandy who trades in her poodle skirt for a skin-tight getup designed to jump start his heart. Never mind the obvious message that this play sends: that the girl has to tramp herself up to get the boy, while the boy returns to his old self. This is a play where you have to suspend good sense. Otherwise, too many things would bother you.
It used to be that competitive skaters turned to ice shows after they won their medals and wanted to lay off the training. Not any more. With shows like “Stars on Ice,” which glided into town Saturday night at the Rosemont Horizon, many professional figure skaters are in the same physical condition today as when they trained for the Olympics and the World Championships. The two-hour show included something for everyone. American ice princess Kristi Yamaguchi vamped to Elvis’ “Trouble,” executing flawless jumps, while fellow Olympic gold medalist Scott Hamilton skated all the roles in a whimsical salute to the “Wizard of Oz.”
Chita Rivera made a triumphant return Wednesday evening when “Kiss of the Spider Woman” opened a five-night run at the Chicago Theatre. Dancing up a storm and singing in perfect voice, the 63-year-old Broadway star gave a smoldering performance that made all the difference in the world. Last year when the musical opened at the same theater, Rivera’s understudy took her place on opening night after Rivera injured her leg. And while all the actors did a fine job, the show was lackluster and I left feeling bored. Not so this night. Regal and poised, Rivera (who won a 1993 Tony Award for her role) started and closed the show with a standing ovation.
It’s not coincidental that actor Stephen Caffrey is sporting a George Clooney-ish look these days. The star of Paul Rudnick’s play “I Hate Hamlet” portrays a character who used to be an actor on a popular series set in a hospital. “I don’t want to make it sound like I’m basing it on him, but the character in the play is an actor who was on a television series called `L.A. Medical,’ ” Caffrey said. “And he leaves the series after five years and goes back to New York. So it was sort of like what would be the contemporary version of `L.A. Medical,’ and it was `ER,’ right? And George Clooney seemed like a good prototype?”
There’s a new improv play in town called “Sue Your Ex” that just might be the cure if you’ve been dumped and want revenge. There are lots of things we can do to make ourselves feel better after a relationship sours. But remember – stalking’s illegal. “Sue Your Ex” provides an alternative. There’s nothing quite like having the support of a rapt audience as your love life is played out before you by an ensemble cast.
If you like actors mingling in the audience and cajoling you to dance with them, then “Song of Singapore” is just the play for you. But if you prefer that actors remain on stage and don’t touch the ticket holders, you’ll want to skip the latest interactive play to hit Chicago. “Song of Singapore” – which opened Monday night at the Pipers Alley Entertainment Complex – isn’t nearly as obnoxious as the preternaturally successful “Tony ‘n’ Tina’s Wedding,” which still is running at Pipers Alley in a theater next door.
“Forever Plaid” is a tribute to the guy groups of the ’50s and ’60s who dressed exactly alike, performed choreographed moves and sang beautiful, heartbreaking harmony. It also is a hilarious, quick-paced 90-minute musical comedy that sends up those groups as much as it pays homage to them. Like the songs, “Forever Plaid” is light and frothy. At Tuesday night’s opening at the Royal George Cabaret Theatre, the four starring actor; singers perfectly depicted the euphoria of being in front of an audience while conveying the pathos of being dead.
Here’s the story/of a TV sitcom/that just wouldn’t ever really go away/Though folks can see reruns on Channel 50/They still pay big bucks to see the live play. Since Chicago sisters Jill and Faith Soloway staged their first line-for-line recreation of a “Brady Bunch” episode three years ago at the Annoyance Theatre, their production of “The Real Live Brady Bunch” has taken on a life of its own. Running through Monday, the play returned to Chicago Tuesday night to a full house at the Park West.
With “Kabuki Medea,” Wisdom Bridge Theatre uses traditional Japanese Kabuki-style theater to tackle Euripides’ Greek classic “Medea.” The result is a splendidly clever tale that is familiar, enacted in a way that is not. Almost 400 years old, Kabuki theater is based on highly stylized and exaggerated moves. In Shozo Sato’s production, which opened Monday night, the actors speak English, but with exaggerated Asian inflections. The rich costumes and demure movements are decidedly Japanese, but the thoughts behind them are Western. The Greek locales in Euripides’ play are substituted by medieval Japanese islands. This adaptation keeps the Western names that Euripides gave his heroes. By the end of the first act, the audience doesn’t find it at all surprising that a Japanese nobleman would be named Jason.
A man has sex with a hamburger. A drug addict accidentally snorts a line of cremated body. A woman makes love to office equipment. A man gets nuked in a microwave. Welcome to “Cannibal Cheerleaders on Crack,” where blood flies and vomit flows – theater’s own little freak show. Regardless of taste, Chicagoans are eating “Cannibals” up. The grossly wacky socio-political comedy celebrates its second anniversary Sunday at the Torso Theatre. (It debuted Nov. 14, 1990.) The plot is less important than the farcical mayhem.
It’s Christmas Eve and Trudy Davis is alone. Not a big surprise, considering she’s a xenophobic bulimic who views food as “unmasticated vomit,” duct tapes her microwave shut and stocks her fridge only with Evian water. Trudy is a woman who needs a little fun in her life, and when she puts Elvis Presley’s “Are You Lonesome Tonight?” on her stereo, the King’s apparition answers her self-pitying call.