Pom Poms up for "Bring It On: The Musical"

Cross-posted from Broadwayworld.com

I was never a big fan of the “Bring It On” film series (I’ve only seen bits and pieces of films on cable) and I certainly wasn’t expecting much from “Bring It On: The Musical”

Gimme an “H”! Gimme an “I”! Gimme a “T”! Yes, the cheerleading-centered musical is indeed a surprise hit.

Much like the film franchise whose sequels merely feature the premise of two rival cheer squads and no recurring characters between them, “Bring It On: The Musical” merely uses the premise of competitive cheerleading to hang its narrative about alienation, friendship and good old-fashion high school backstabbing on.

If 2007’s film “Bring It On: In It to Win It!” was a modern retelling of “West Side Story,” “Bring It On: The Musical” could be said to be a pompom spin on “All About Eve.”

Make that “All About Eva.”

Taylor Louderman as Campbell, the cheerleader with a heart of gold

Campbell (the likeable and somewhat understated Taylor Louderman) is the head cheerleader at a whiter-than-white suburban high school and she’s that rare, nice popular girl who is kind to everyone, not just her besties. On the eve of the start of the school year, her home is redistricted as a result of some possible sneaky maneuvering by her sophomore rival Eva (the sweet yet conniving Elle McLemore).

Ryann Redmon (center) as Bridget is backed up by

Ariana DeBose (Left) as Nautica and Gregory Hansey

as La Cienga 

Campbell, along with the team’s full-figured, geeky mascot Bridget (the hilarious Ryann Redmond) find themselves attending Jackson, the diverse and rougher inner city school across town.

From there, things are turned upside down. The once popular Campbell is an outcast. The bootylicious Bridget, however, suddenly finds that she is attracting both the attention of the boys and the school’s dance crew, led by Danielle (the terrific Adrienne Warren).

Other standouts in the cast include Gregory Haney as a transgendered cheerleader La Cienega, and Jason Gotay as Campell’s love interest Randall. Gotay’s performance of the ultimate teenage anthem “Might As Well Enjoy the Trip” is positively swoon-worthy.

Danielle (Adrienne Warren, center) rules the roost at Jackson High.

It’s not only the main characters of the play who find their souls at Jackson. Directed and choreographed by Andy Blankenbuehler manages to find the heart and the soul of the show there, too. The show stops being a cross between “Mean Girls” and “Legally Blonde” to actually delve, albeit briefly, into issues of class, race and even political power.

Producers have wisely assembled a Tony-award winning creative squad here. The book is by Jeff Whitty (Tony winner for “Avenue Q”), the lyrics are by Amanda Green and Lin-Manuel Miranda (the former is a recipient of the Jonathan Larson Award, the latter the Tony winner for “In the Heights”) and the music is by Miranda and Tom Kitt (Tony and Pulitzer winner for “Next to Normal”).

Kitt brings some truly gorgeous and complex melodies to the table here, much like his work in “Next to Normal.” For his part, Miranda continues to contribute to expanding the vernacular of Broadway music with elements of rap and hip hop starting to feel more and more like they belong on the stage. Highlights include “It’s All Happening” (though this might work better as a first act closer, not a second act opener) and the climatic number “Cross The Line” wherein our protagonists learn that winning isn’t everything and sometimes it’s best to stand out and play by your own rules instead of conforming to societal norms.

And if the music doesn’t blow you away, the choreography and cheerleading stunts will. “Bring It On” will have you cheering in the aisles.

“Bring It On: The Musical” runs through Mar. 25 at the Cadillac Palace, 151 W. Randolph. Tickets, $18-$85. (800) 775-2000 or broadwayinchicago.com.

"South Pacific" features a promising young cast and it's share of "Bali-lows"
 (Cross-posted from BroadwayWorld.com)

By Misha Davenport

“South Pacific” at the Cadillac Palace Theatre? It was a somewhat enchanted evening.

The economics of producing a live theater event –let alone a full-blown musical—cannot be easy. Most producers I know do it more so out of a love of theater than any notion that they are ever going to see a return on their investment. So, I suppose I shouldn’t fault any producer willing to put his or her skin in the game in what amounts to a noble effort to keep musicals -one of America’s greatest cultural achievents—alive.

And yet, I can’t help but find some fault with NETworks Presentations, the folks behind the current tour of “South Pacific”(playing through Feb. 26) and several other non-Equity tours that have rolled through town under the auspices of “Broadway in Chicago.” NETworks’ shows certainly aren’t community theater, but Broadway they ain’t.  

The pared-down production of “South Pacific” currently playing at the Palace might wow them in Debuque, but this is Chicago and we’re fortunate enough to have an embarrassment of theater riches. You don’t need a ton of money to present a quality performance; you just need some creativity and a commitment to quality work.

For the most part, the cast show’s a commitment to their craft. As the “cockeyed optimist” Ensign Nellie Forbush, Jennie Sophia effortlessly gives a zestful performance. She has a beautiful voice and manages to thoroughly charm the audience.

As Lt. Joseph Cable, Shane Donovan is occasionally wooden, but he possesses enough hunky bravado and boy can the guy sing.

Christian Marriner also is in fine comedic form as the scheming yet loveable Luther Billis.

Faring less well is Marcelo Guzzo as French ex-patriot Emile de Becque. Guzzo has a rich and full voice needed to pull off “Some Enchanted Evening,” but his accent however can best be described as “continental” as it truly is all over the map. Spoken lines had a Spanish flavor and his singing voice had traces of both German and Italian. Suffice to say, you’ll have a hard time believing he’s French.

The most interesting choice of the night comes from Cathy Foy-Mahi as the native black marketer Bloody Mary. It’s normally a light-hearted, comedic role (in less skilled hands it sometimes even boarders on a racist stereotype). One of the strongest scenes in the show is when Bloody Mary attempts to prostitute her young daughter Liat (Hsin-Yu Liao) to the handsome and naïve young officer Cable. 



Nothing wows 'em like a tender portrayal of white slavery.

Rogers and Hammerstein produced in a time when Broadway shows weren’t usually dark (they were once famously accused of sugar-coating the Nazi occupation of Austria in “The Sound of Music”). “South Pacific’s” anti-racism anthem “You’ve Got To Be Carefully Taught” predates the Civil rights era by a decade or so, though. While Bloody Mary’s actions are probably historically accurate, I’m not sure if it works as it ends up taking some of the weight away from some of the other serious elements in the show.

The thing that is perhaps most disappointing is the orchestra. The last time Rogers and Hammerstein’s Pulitzer Prizw-winning show came through town it featured a full orchestra. The current tour boasts ten musicians and two computers (light even by tour standards).

Without a full orchestra, you can’t help but feel like this is a stripped and watered down version of “South Pacific.”

Yes, the score features some of the best music from the American Songbook including “Some Enchanted Evening,” “There is Nothin’ Like a Dame,” “I’m Gonna Wash That Man Right Outa My Hair,” and “A Wonderful guy.” You could accompany these tunes with a chorus of kazoos and it would still feel magical. It’s best not to give NETworks any ideas though.

If you’ve never seen “South Pacific,” you will probably find enough “Bali Ha’is” to warrant your ticket purchase, though.

"South Pacific" plays the Cadillac Palace Theatre (151 W. Randolph) through Feb. 26. Tickets, $18-$85. Call (800) 775-2000. broadwayinchicago.com or southpacificontour.com.