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.