Posted by: Bob [CTA] | November 15|09

Dolphin divas

My aunt and mom are in Chicago this weekend to tool around and see Jersey Boys. (I just picked them up from the show — they LOVED it.)

Earlier today, we decided to visit the Shedd Aquarium. Clearly we were on crack, because the Shedd on a sunny Saturday is a fate I wouldn’t wish on my worst enemy. What a crowded, unorganized mess.

However, I was excited to see some fish and tree frogs. Which we did:

shedd_2

shedd_3

But I was most excited to see the new multi-million dollar dolphin show experience: Fantasea. We were kicked out of the noon show, as they reached capacity, so we hung around two hours for the 2 pm show. And, you better know it, we were in line by 1 pm.

We got a seat…and waited.

And waited.

Still waiting.

Then! A preview movie started about the majestic beluga whale, and how they were heavily featured in this new show. We were promised jumping dolphins and tap dancing seals and waddling penguins. (Ok, I’m lying about the seals.) Oh, the experience we were going to have! “Life changing,” they said.

“Five minutes to showtime,” boomed an assured voice.

Some more teasers about the upcoming show. Such a buildup!

An emcee came out and got us even more fired up. “Clap if you love dolphins!!!! YAY!!!”

Then, finally, a huge, venetian-like movie screen descended, closing us off from Lake Michigan. Lights, dolphins, action:

fantasea

Grand music! Strobe Lights! Flying actors!

But no animals.

Huh.

The actors/handlers just kind of stood there waving fish and colored objects in the water while the music and strobe lights built to a crescendo. But, still…nothing. Awkward glances were exchanged between trainers and audience members. One actor ran away. The little girl actress did her best to pretend she was seeing some cool shit going on in the empty water before her…it was a Tony worthy performance.

And then several more minutes of nothing. Some beluga whales did come out, but just swam around in circles a few times — then were gone. A lady came out with some sort of hawk, but it didn’t fly — and just stayed tethered to her.

The penguins were rolled out to liven things up, but even they weren’t having it — they just stood there. They handlers even lightly scooted them to move around a bit, and they would. not. budge.

Finally, after more awkward moments of nothing, the emcee came back out and informed us that the animals were not performing this afternoon, and the show was over.

That was it. Over.

We were told we could get a special ticket for a future performance. But screw it. After spending $300 on parking and nearly losing my sanity with the overcrowded disorganization, I’ve no plans to visit Shedd any time soon.

Disappointing.

5 Comments

Posted in Chicago | Tags:

Posted by: Bob [CTA] | November 13|09

Flying by Foy: Foy Fails

This is the second part of a two part series on the magic of onstage flying.

For those newbies to my blog: I love the musical Peter Pan, and onstage aerialics (my word) in general.

Recently I stumbled upon a series of YouTube videos that demonstrate what can happen when you mix flying rigs with community theatre. The result? Poor Jane (Wendy’s daughter in the final scene of the musical) gets it every time.

[Disclaimer: My use of the term "Foy" in this post is a catch-all for onstage flying, and not based on any fact or evidence that the rigs used in the videos in this post were actually manufactured and/or installed by Flying by Foy.]

You see, in this scene, what’s *supposed* to happen is the grown up Wendy sits in her chair, while her daughter, Jane, sleeps. And Peter Pan flies in the window, tries to get Wendy to go back to Neverland, but leaves with Jane, instead. But, as is the case in these three videos, Jane gets a rather rude awakening thanks to some wire mixups backstage…

First Foy Fail: “Committed Actress Keeps her Shit Together in the Face of Possible Disfiguration” edition:

Second Foy Fail: “Graceful Landing” edition:

Third Foy Fail: “We Just Give Up” edition. It’s a wonder no one got hurt. Keep watching through 1:15:

Seriously, backstage crew guys: Did you even *think* to label the wires before you pulled them?

Related Post: Backstagejobs.com uses this post to start a discussion on the risks of onstage flying. Go here.

Leave a Comment

Posted in Theatre, etc. | Tags: ,

Posted by: Bob [CTA] | November 13|09

The Man Who Was Thursday @ New Leaf Theatre

Thursday

Last night, while on my merry way to New Leaf Theatre’s critically acclaimed production of The Man Who Was Thursday, I was forced into an impromptu jog for about half a mile in my fraught attempt to make it to the concealed Lincoln Park Cultural Center in time. (Seriously — I asked four different people after Google Maps led me astray, and not a single person knew where the building was — or that it even existed. Luck was on my side when I happened upon the unmarked building.)

It seems fitting, though, that I should have a difficult time locating the venue for a show that takes us into the underground lair of the top-secret Supreme Anarchist Council.

The Man Who Was Thursday follows Gabriel Syme (the crisp, compact Dan Granata), a poet who is recruited to a secret anti-anarchist taskforce at Scotland Yard. In his quest, he wins the trust of newbie anarchist Lucian Gregory (Mike Mikula — giving a passionate performance yet with a distracting northern London accent that seems have come by way of Jamaica). With cunning and clever wordplay, Syme infiltrates the Supreme Anarchist Council in his key task to take down “Sunday” — the leader of the Council (played with detached, gleeful abandon by Sean Patrick Fawcett). Syme soon learns, however, that the enemy isn’t always where you expect to find it.

Bilal Dardai has inventively adapted G. K. Chesterton’s darkly satirical novel into a an evening steeped in intrigue and contradictions. And director Jessica Hutchinson’s neck-twisting and head-scratching staging keeps you figuratively (and, at times, literally) on your toes. (That said, the expository-heavy first scene could use some tightening.)

The Man Who Was Thursday thrives on paradox. Flipping something inside out and looking at it in a new way reveals a truth that might not be seen if you were to merely approach it as trained, per logic.

Why am I defining paradox for you? Because I can, and I feel it’s important. Also: I feel New Leaf’s production maintains dramatic tension through paradox quite well. (What the hell does that even mean? I’m not sure. It’s Friday.) But I *am* sure this show is fantastic, funny, and, ultimately, quite sobering.

The show’s sold out for the rest of the run, and it’s not hard to understand why.

Side note: They filmed last night’s performance for “documentation purposes” and I happened be in the background during the major scenes, which made me all sorts of uncomfortable. And, to top it all off, my fly was open the entire time. So, added bonus for the New Leaf archival footage!

Leave a Comment

Posted in Chicago, Theatre | Tags: , ,

Posted by: Bob [CTA] | November 12|09

Donna Lynne Champlin produces solo CD for under a grand

CD IS OFFICIALLY DONE!
….and i’m about to puke.

But i dropped it off at Play-It Direct Productions today where they’ll reproduce it, package it, and everything.

Ok.

First off, in my humblest of opinions-
for a budget of $1000?
on a $90 mike?
recorded in my bathroom?
and mixed on garage band?

with all that considered…..

THIS CD KICKS SOME SERIOUS MUSICAL BALLS, MAN!

- Donna Lynne Champlin, 11.3.09

I’ve been a fan of Broadway singer and actress Donna Lynne Champlin for a number of years — ever since I heard her sing “The Air is Free” on the cast album of 3hree.

And then she played the accordion-wielding Pirelli in the John Doyle revisionment of Sondheim’s Sweeney Todd.

donna_lynne_sweeney

She’s also done a ton of other shit.

And now? Donna Lynne’s in the process of releasing her solo album, which she’s recorded (in her bathroom), mixed and produced all on her own — with a budget of a cool grand and a timeline of six weeks. A sort of experiment, if you will, which lends nicely to her wonderfully candid blog where she provides regular updates on on the CD’s progress and what’s she’s learned along the way.

Her CD, entitled “Old Friends,” drops December 1, but you can pre-order here for $15. I know I will, as I love ingenuity, sticktoitiveness and the belty vocals of Donna Lynne.

1 Comment

Posted in Music, Theatre | Tags: ,

Posted by: Bob [CTA] | November 11|09

Terri White: from homeless to starring on Broadway

People Magazine and the New York Times have recently profiled Finian’s Rainbow star Terri White, celebrating her amazing transformation over the past year.

When the final curtain drops at the end of the new hit Broadway revival of Finian’s Rainbow and the applause is still echoing in her ears, Terri White can scarcely believe any of it is real. A year ago, she was homeless and sleeping in a Greenwich Village park.

In September 2007, I was in Manhattan for work. On my evening off, I stopped at my favorite piano bar, Don’t Tell Mama, for a few drinks and some tunes.

In between sets of the Don’t Tell Mama regulars, this strangely recognizable women got up and sang “Everything Must Change,” and I knew that voice. And then it hit me: She was Sister Mary Hubert from the video of Nunsense starring Rue McClanahan, where she sang a rousing rendition of “Holier Than Thou.”

White, who had a bi-weekly gig at another piano bar (where she also washed up and stored her clothes), was earning $32 every other week – money she spent on ramen noodles and for her cellphone service. Going on fruitless auditions, she admits, “I was in bad shape.”

Of course, I had no clue of her impending situation. After her set, she mingled with the crowd, and I leaned back from my bar stool and told her, “I loved you in Nunsense!” She hugged me and jokingly told me to get Nunsense 2. Everyone at the bar knew her and loved her. There was such respect for her that evening when she performed.

Between gigs on Broadway and singing with Liza Minnelli, Ms. White had always worked for tips in piano bars around the West Village. She was a regular at 88’s until it closed, then found a new home at Rose’s Turn on Grove Street — until it, too, closed.

How sad, all around. Piano bars are in trouble, or, quite possibly on the verge of extinction. A handful in Chicago have closed, too. I find them to be magical places with warm, funny people who just want to be entertained and have a good time. And, from my experience, most piano bar singers are absolutely amazing performers. Anne Steele anyone?

Anyway…

In Florida, she met Donna Barnett, a stately 62-year-old jewelry designer — and, like Ms. White, a cigarette fiend, a fan of road trips and musicals and Maker’s Mark. The two fell in love, and moved in together. When the call came for an audition for an Encores! concert performance of “Finian’s Rainbow” (a predecessor to the Broadway production), Ms. Barnett paid her airfare back to New York. After months of coming close, but ultimately hearing “No thank you” — she auditioned nine times for “Chicago” — Ms. White landed the part of “Finian’s” Dottie.

NINE TIMES?

Wow.

I’m glad Ms. White’s found success and love. No one deserves it more.

TerriWhite

Ms. White with her partner, Donna Barnett. (Photo Credit: Piotr Redlinski for The New York Times)

Leave a Comment

Posted in Uncategorized

Posted by: Bob [CTA] | November 10|09

“I am changing!”: Magical musical costume changes

I heart magic costume changes. So, let’s reflect on some of the best ones, shall we?

Let’s start with the aptly titled “I am Changing” from Dreamgirls. This video features a very solid Joyce Licorish as Effie White in a recent regional staging of the show, singing “that other big hit” from the groundbreaking 1981 musical. Skip to 3:18 for the magic costume change.

George Hearn performing “A Little More Mascara” puts on his Zaza drag during the 1983 Broadway production of La Cage aux Folles. The video is crappy, but it’s also nearly 30 years old. (Sadly, I couldn’t find the 2004 Broadway revival performance of this number with Gary Beach, who has a fabulous trick dress that goes from basic black to glam sparkles with just a the bump of a shoulder.)

I always have to work in Legally Blonde The Musical somehow. But this time, it’s appropriate for the topic. OMIGOD! Watch at 4:55 for the magical transformation. Laura Bell Bundy for the win, y’all.

In the musical Hairspray, Tracy (Tony award-winning Marissa Jaret Winokur) convinces her dowdy mom Edna (the irreplaceable Harvey Fierstein) that the ’60s are here, and a makeover is in order. Magic costume changes commence!

Vanessa Williams was merely a decent Witch in the 2002 Broadway revival of Into the Woods. However, her transformation was, indeed, magical (skip to 2:40):

Finally, while not from a musical, the most amazing costume change video I’ve ever seen is this:

What are your favorite magical musical costume changes?

(“Change” will be a very big theme this week — hopefully! Fingers crossed…)

4 Comments

Posted in Uncategorized | Tags:

Posted by: Bob [CTA] | November 9|09

New EDGE music review: “The Essential Barbara Cook”

Barbara Cook is a national treasure, a legend, a mentor, a master interpreter, a world-class artist, the eighth wonder ofEssential_b_cook the world.

If you’re reading this, you are most likely familiar with her career – which spans five decades and ranges from originating leading ingénue roles in classic musicals such as The Music Man and Candide to full-blown concert diva. And, like any true wonder, her voice seems immune to the forces of age — at 82 her voice only deepens in its expressiveness without losing any of the youthful joy that made her a composer’s muse during the golden age of Broadway.

DRG has assembled a lovely boxed set celebrating her career from the early 1990s to current day. Specifically, it includes four CDs: “Close As Pages in a Book” (newly remixed and remastered), “Live from London,” “All I Ask of You” and “Live From The Met.” The set also includes the DVD of “Mostly Sondheim” and a four-track bonus CD titled “Give Me the Simple Life” from her latest studio album, due for release in early 2010.

Read the full review on EDGE >>

And now: Ms. Cook in her element:

Leave a Comment

Posted in Music, divas | Tags: ,

Posted by: Bob [CTA] | November 8|09

All together ooky…

I’m so excited. I spent money I don’t have on The Addams Family tickets for Dec 2.

Because it’s Nathan Lane and Bebe Neuwirth. Hello??

Also, it’ll be Gerald’s and my nine-year anniversary. How cool is that??

Also x2: I can’t imagine how they could possibly compete with our version of The Addams Family from this Halloween. We’re pretty f’n creepy and kooky, if we do say so ourselves (click pics to embiggen):

2 Comments

Posted in Chicago, Theatre | Tags: , ,

Posted by: Bob [CTA] | November 7|09

Review: “Sex” by Mae West

Sex_MaeWest

Prologue Theatre Company’s deliciously detailed production of Mae West’s Sex transports you back to a fringy flapper era where good girls go bad and bad girls try to go good, but ultimately, bad girls just wanna have fun.

It’s like “Showgirls,” circa 1920.

Well, not *really* (don’t go expecting Charleston-inspired pole dancing); however, just like that Elizabeth Berkley classic, this bawdy work was panned by the critics and jeered by the morality police, but the audiences came out in droves to see what all the hub-bub was about.

Prologue’s production, creatively staged at the historic North Lakeside Cultural Center by director Margo Gray, is more charming than cheap. Time only magnifies the creaky structure of West’s novice work, with inorganic emotional shifts to merely advance the plot (such as a prissy society housewife suddenly empathizing with the hooker who’s preparing to wed her son) and the heavy reliance on stock secondary characters. However, the care and detail that goes into this production makes it an endearing evening of entertainment.

As Margy, the pragmatic hooker with a heart of gold and balls of steel, Jes Bedwinek follows Mae West’s lead, but doesn’t go into camp. While the role really requires a star to make the show spin, Bedwinek takes a more human approach, which mostly works. Thankfully, the bawdy line readings still resonate. And you begin to feel for Bedwinek’s Margy as she reluctantly starts to let down her guard for a young suitor, despite him not knowing her less-than-reputable past.

Another standout in the cast is Anne Sheridan Smith as the Connecticut sophisticate who has more in common with Margy than she may care to acknowledge. Her frenzied, uptight performance plays nicely against Bedwinek’s sly Margy.

However, the star of this production is the venue. Generally, i’m not a fan of promenade staging, but Gray has used the sprawling Cultural Center effectively. Audience members get up and move around only a few times to signify a key scene change, and during the transitions, actors keep the momentum going by drunkenly singing in the hallway or flirting with you from the doorways. The inclusion of an intermission, however, seems a misstep, only for the break in atmosphere that’s been so thoughtfully set.

Kudos to set and costume designer Carrie Hardin — everything from the champagne glasses to the fringe-lined dresses to the dollar bills is vintage ’20s.

“Sex” by Mae West plays through November 21 at North Lakeside Cultural Center, 6219 N. Sheridan Rd. For more information, visit prologuetheatreco.org.

Leave a Comment

Posted in Uncategorized | Tags: , ,

Posted by: Bob [CTA] | November 5|09

First look at “The Addams Family”

Bebe Neuwirth, Nathan Lane and the cast of the new Broadway-bound musical The Addams Family.

addams

Fabulous, no?

The show’s Broadway tryout begins at Chicago’s Oriental Theatre on November 13 (next week!) before beginning previews on Broadway March 5, 2010, with an opening set for April 8. More info here.

[via theatrestory.com]

7 Comments

Posted in Chicago, Theatre | Tags: , ,

Posted by: Bob [CTA] | November 5|09

Publicists and criticism

As a theatre reviewer, I oftentimes work closely with PR reps and publicists to get opening night invitations, press tickets, photos, media events, press releases, etc. For the most part, my experiences with these groups have been just fine. However, recently I’ve encountered some issues and trends that need addressing:

Bad publicity shots: A picture says a thousand words. If you want to represent your show with amateurish imagery, then you are just shooting yourself in the foot. First impressions always are the most important. Furthermore, sending low-res or small files really limits the use of the picture. You can always make a big picture/file smaller, but not the reverse.

No fact sheet: Along with a press release and Playbill in the press kit, it’s always very helpful, particularly when running on deadline, for a reviewer to scan a fact sheet for venue name and address, dates, director, cast, etc — without having to pour through a creatively written press release. Only two theatres have offered fact sheets that I’ve noticed. A simple thing, but a major help.

Spamming/shilling: I recently had a slew of shilly comments posted on my blog relating to Cirque du Soleil’s new show Banana Shpeel. Things like: “I can’t wait for Banana Shpeel to arrive in Chicago! And you’re in luck! A great deal on tickets can be found here…!” And I wasn’t alone.

I’ve made contact with Shpeel’s spokesperson regarding this matter, and she quickly replied, stating that she wasn’t aware of the spamming/shilling and would look into it. So far, so good.

(However, the cynical side of me thinks this was, in fact, part of Shpeel’s marketing scheme, and it backfired.)

My point? Using social media and blogs to shill your show is not only annoying, it’s ineffective. We aren’t morons here. We can smell a marketing ploy a mile away.

No final confirmation emails: Countless of times I’ve had to take the lead in sending confirmation request emails to PR contacts to ensure I had a ticket waiting for me at the box office. Common sense, right? Which leads me to…

No press tickets: Three times I’ve arrived at a show to review, and no tickets were under my name due to some error on their behalf. I’ve had to pull up the confirmation they sent me on my bberry to get in.

And finally…

Pissy publicists: Without naming names, I’ve come to learn that a certain publicist is giving me a hard time in arranging a date to review a show s/he’s representing simply because s/he didn’t like recent reviews posted for other shows s/he represents on a certain entertainment site I contribute to. Mind you, these reviews s/he takes issue with I haven’t even written.

I’ve come to learn this isn’t an uncommon occurrence in the industry.

I find it completely unprofessional to be offended by a review for a show you’re representing. Your job as a publicist is to invite the critics and promote the show, not serve as gatekeeper to those sites or critics who you feel will give your show a good or a bad review. If your show stinks or has issues, it’s the critic’s job to call them out in such a way that lets the reader determine if they want to buy a ticket for the show.

Anything you’d like to add to this list?

6 Comments

Posted in Chicago, Theatre | Tags: , ,

Posted by: Bob [CTA] | November 4|09

New EDGE review: End Days @ Next Theatre

End Days

Sound designer Nick Keenan has done his homework. This is the first time where I’ve nearly crapped my pants due to a theatrical sound effect.

Keenan, who is responsible for the explosive thunder claps that signal the approaching End of Days in Deborah Zoe Laufer’s aptly titled End Days, should feel mighty content with himself. It’s a powerful moment that makes you want to start repenting on the spot.

Or soil yourself. Either/or.

The rest of End Days, which is receiving its Chicago premiere at Next Theatre Company, doesn’t quite have the gut-punching impact of this moment, but that’s not Laufer’s intention. Rather, her script takes a lighthearted, fresh look into the ideas that make up evangelical religion, physics, the Rapture, and belief in general.

For the full review, visit EDGE >>

Leave a Comment

Posted in Chicago, Theatre | Tags: , ,

Posted by: Bob [CTA] | November 3|09

Multiple “Pillowmans”

I know very little about Martin McDonagh’s 2003 award-winning play, The Pillowman. However, I do know a coworker who saw a production at Steppenwolf in 2006 and decided she was done with Steppenwolf for a while.

However, by the end of this month, I’ll know I great deal more, as I’m seeing two productions — one by DePaul University at the Greenhouse Center tomorrow night, and one at the beginning of December at Redtwist Theatre.

And this isn’t even one of the top-ten most produced plays of 2009 (it was in 2006).

Have you seen two different productions of the same show within a few weeks of each other? And how did that work out for you?

EDIT (11/5): Due to other commitments, Pillowman at DePaul didn’t happen, unfortunately.

6 Comments

Posted in Uncategorized

Posted by: Bob [CTA] | November 2|09

An open complaint letter to RAM Racing

To whom it may concern:

hotcocoraceYesterday I, along with three friends, participated in the 2009 Hot Chocolate 15k/5k, hosted by RAM Racing. While it was a beautiful Fall day for a race, the organization of the event unfortunately made for an incredibly aggravating experience. And it wasn’t just me: my racing companions, and nearly everyone around me, were disappointed, irritated or just plain mad. (Read my friend Jamie’s thoughts on the race here.)

The disorganization started shortly after registration. When I first signed up, packet pickup was at the Running Away Multisport in downtown Chicago — easily accessible via train. However, after I registered that changed to the UIC Pavilion, a place significantly harder to get to via CTA.

This was blamed on the large number of race registrants, which we later came to learn was the result of RAM Racing closing registration when it hit capacity of 15,000, and then reopening it to allow another thousand or so people sign up. The result was an event and venue that simply could not handle the volume of runners.

Race day arrives. The web site said the race started at Montrose Harbor. Imagine our surprise to learn that we had to backtrack to Wilson Ave for the race.

Then came the craptastic disaster that was gear checking. As most of the runners who are checking bags are the less experienced ones (we wear coats and carry keys), naturally we would also be the ones who register later — thus have higher bib numbers. It’s like that at every race. So, the fact that the 14000-15000 gear check tent had only a few volunteers working it, who were throwing our bags in unorganized piles, was unfortunate. And, when it came time to pick up our bags, we waited in line THIRTY FIVE MINUTES for our gear. Yes, we stood in the gear check line longer than it took to run the actual race. Pathetic. Finally, we had enough and went to one of the other gear check lines, which were empty with volunteers standing around talking, and asked for our gear. They scolded us for getting in the wrong line, but caved in when they saw the smoke coming out of my ears.

Oh, and the running course? Horrible, clusterfucky and dangerous. Literally, at one point, we were running on a sidewalk. Really? For a race that has over 16,000 participants? And then there was that long stretch along the waterfront, where people were passing each other only a few inches from the harbor’s edge — just an elbow in the chest away from falling into freezing waters of Lake Michigan. Due to the sheer number of people and the crappy course, I had to stop and walk several times so I wouldn’t bump into someone or run into a park bench, dumpster or a tree when I tried to pass.

As for the hot chocolate aspect of the “Hot Chocolate 15k/5k”? Fail. Not only were our complementary hot chocolate tags mistakenly taped onto our bibs, which required all sorts of creative thinking to tear them off, the hot chocolate we were served was assy. Probably the worst hot chocolate I’ve ever tasted. Watered down, lukewarm, and just funky tasting. We threw it out after two sips. (Also, Flour Girl on ChicagoNow.com says they ran out of chocolate.)

Needless to say, I’m not participating next year. Montrose Harbor is not equipped for hosting a race of this size, and it was irresponsible of RAM Racing to do so. This was, without a doubt, one of the most poorly organized racing events I’ve ever experienced.

17 Comments

Posted in Chicago, running | Tags: ,

Posted by: Bob [CTA] | October 31|09

SALEM! The Musical @ Annoyance Theatre

The last thing I expected to see Friday night was a tap dancing skeleton singing an Al Jolson-inspired number.

But this is just a typical night at the Annoyance Theatre, home of perennial favorites Co-Ed Prison Sluts, Messing with a Friend, and Skinprov.

salem

The cast of "Salem! The Musical"

Last night I caught the closing performance of SALEM! The Musical — basically, a campy, streamlined and musicalized retelling of Arthur Miller’s The Crucible. Already I was looking forward to the show based on the title alone — you just know that exclamation point promises something good.

Written and performed by an all female cast of five, including Kayce Alltop, Allison Black, Elise Dubois, Ashley Thornton, and Lauren Van Kurin, this show is, in fact, a riot. Yes, it was completely stupid and offensive and crude. But that’s exactly why I loved it: It knows what it wants to be, and embraces it with irreverent glee and energy. It’s camp, it’s comedy, it’s cock jokes. It’s not Pinter or even Mel Brooks. It’s just silly, fringe musical comedy improv stuff.

Paranoia, intolerance and male empowerment are played to the hilt here, with the idea that women doing math or reading or thinking = witchcraftery serving as crux of the evening’s humor. “She’s…THINKING?? That evil, sinning SLUT WHORE!” That sorta stuff.

And then there’s the sickly mother of the virginal, young Abby (Dubois) — played by a skeleton. The very bones that, attached quite crudely to Ms. Black all dressed in black, perform a lively (relatively speaking) tap number to help her daughter understand that, well, life sucks. Especially when you’re a 12-year-old girl forcibly married to a perverted, abusive and much older shop owner (Dr. Grimes, played by the convincingly smarmy Alltop).

Dan Wessels composed the tunes, wrote the lyrics and plays the piano for this exclamatory musical, ranging from bright show numbers to samba to torch-inspired ballads. You get the sense the score was probably banged out in a day or two, but that doesn’t matter. The loose, improv approach works here.

You’ll note that even though the show has closed, I’m writing about it in present tense. It is my hope that this isn’t the last of SALEM!, and it comes back next year, and the year after, and the year after that. I wouldn’t mind making this a Halloween tradition.

For more information on the Annoyance Theatre, visit annoyanceproductions.com

3 Comments

Posted in Chicago, Theatre | Tags: , ,

Older Posts »

Categories