Drury Lane's 'next to normal' is anything but

Susie McMonagle: dust off that Jeff award shelf.

One would never associate “next to normal” with traditional summer musical fare. Light-hearted it ain’t.  The Tony-award winning show is an uncompromising look at one family’s attempt to cope with the matriarch’s mental illness. The show also serves as an indictment of a mental health industry that at times seems more interested in grooming life-long pill-popping consumers than addressing the underlying causes of some disorders.  

Musicals such as “Gypsy” have dipped the proverbial toe in the mental health water (“Rose’s Turn” is essential a nervous breakdown set to song), but few shows have ever wrote an entire book around the topic of mental health.

As a musical, “next to normal” is less “Mama Mia!” and more “Mother Courage.” This makes the current production of the show at Drury Lane Theatre in Oakbrook Terrace something of a major risk.

I mean no disrespect here, but the show’s gritty, sung-through, rock score and serious subject matter would seem to initially be incongruent with the typical, older suburban Drury Lane subscriber.

Whether it is the Pulitzer-prize winning script or the superbly acted, sung and directed show, the audience at the opening was incredibly receptive to the show.  

Jeff Tolle (Gabe) with McMonagle as Diana

If this production was a gamble, it has paid off in spades. In the lead role of Diana, a wife and mother trying to navigate the fine line between medication and memories, Susie McMonagle is riveting. While the show was originally a vehicle for Alice Ripley, I actually preferred McMonagle’s vocal approach to the role. True, Ripley’s voice had more of a razor’s edge than McMonagle’s that on the onset seems to be more true to the rock score, but McMonagle’s “folk-singer” style makes her Diana more approachable. If the statistics regarding mental health and bipolar disorder are to believed (and I frankly believe they are), we all know someone just like McMonagle’s Diana.

As her much put-upon yet still supportive husband Dan, Rod Thomas turns in what has to be the best performance of his career. Usually cast in comedic roles (you might have seen him in Second City’s “The People vs. Friar Laurence”), the funny man can not only emote, but also belt out the demanding score with the best of ‘em.

As son Gabe, Josh Tolle brings the needed intensity required of the role. The pacing and acting could not be better in the scenes where Gabe and Dan both engage in a tug of war in regard to Diana’s course of mental treatment. Gabe wants to flush the drugs; Dan wants to keep experimenting until they get it right. Each has their own selfish reasons for advocating their respective courses with Diana stuck in the middle.

Newcomer Callie Johnson (as daughter Natalie) has some pitch problems early on (a fate suffered by the Ms. Ripley in the original Broadway run, too). Should those persists, you’re likely to overlook them thanks to her intense portrait of a teenage girl who can’t seem to live up to perceived expectations. Her character resonated more with me than in previous productions. A second act scene between mother and daughter, set in a hospital, is exceptionally moving.  

Rounding out the cast are  Skyler Adams (hilarious as Natalie’s would-be boyfriend who just won’t quit pursuing her) and Colte Julian (in the dual role of Dr. Fine and Dr. Madden). Julian finds more meat the Madden than he does in Fine, but is nonetheless engaging.

Scott Davis’ monochromatic scenic design (ok, there are black chairs so I guess it is bichromatic) perfectly captures the sterility of an average suburban home. Costume designer Sally Dolembo follows a similar pallet in the first act, slowly introducing pops of color in the second act as a way of visually capturing subtle changes to Diana’s mental state.

Under William Osetek’s direction, the pacing and flow could not be better. Actors move from fantastical scenes within Diana’s head to those grounded in reality with aplomb. “next to normal” is musical perfection; it's a theatrical moment not to be missed.

A "Kinky" tease



Stark Sands (left, as Charlie Price) and Billy Porter (as Lola) in "Kinky Boots"
photo by Sean Williams

 "Kinky Boots" officially has it's pre-Broadway opening tonight (it's been in previews for the past couple of weeks). Come back tomorrow for my review, but until then please enjoy the production shot of the charming leads in the show, Stark Sands and Billy Porter.

And if you haven't seen the show yet, buy your tickets! It's important to support live theater, especially new works. Ticket deals can be had for weekday performances. You can always say you saw it first!

It's no "1776," I'll give you that



The cast of Bailiwick's "Bloody Bloody Andrew Jackson"
photo by Michael Brosilow

Much like the presidency that it depicts, Bailiwick’s Chicago premiere of the off-Broadway hit musical “Bloody Bloody Andrew Jackson” is a mixed bag.  

For those who thought “Spring Awakening,” “Urinetown” and “American Idiot” played it too safe, “Bloody Bloody Andrew Jackson” may just fit the bill as truly the first punk rock musical. The 100-minute, intermission-less show is a hipster re-envisioning of history; our seventh president is painted with the largest of brushstrokes as a guyliner-wearing, hip-swaggering, Emo rock star in tight jeans.

Loosely sketched, the show is equal parts satire, cartoonish vaudeville act and critique of our political process and dark history. It plays fast and loose with actual history, though (you would no sooner be advised to treat this as a history lesson than you would a marathon of “Hogan’s Heroes” as a lecture on World War II prisoner of war camps).

Matt Holzfeind as the charismatic President/rockstar
photo by Michael Brosilow

As the man who literally had the presidency stolen out from under him by a Congress that feared the true will of the people, Matt Holzfeind is a charismatic force of nature; a noble feat considering he is on stage singing, dancing for the major for most of the show.

As Jackson’s long-suffering wife Rachel, Samantha Dubina brings heat and longing to the proceedings. There’s often a quiet nobility to her performance as we watch her cope with a husband struggling to strike a balance between his public and private life.  

Other shout outs in the cast: Judy Lea Steele brings the laughs as the motorized scooter-bound modern narrator, Jill Sesso’s performance of “Ten Little Indians” elevates things almost to the level of Laurie Anderson’s performance art, Patrick Rooney’s guitar virtuosity and rocking vocals on several male solos and the overall band (lead by the Jeff nominated music director James Morehead) who are as much a part of the action as the actors.

Nick Sieben’s scenic design draws the starkest analogy to our current political climate. Occupy Wall Street handbills share wall space with posters that urge you to “Vote Addams, Vote often” and others advertising tickets to Cleveland Indians baseball (the smiling face of the Cleveland Indians mascot is particularly jarring given the atrocities depicted in the play). Sieben also scores extra points for the 24 paper lanterns hung above the stage which represent the 24 states that made up the union when Jackson took office (Arkansas and Michigan would be added during his tenure, but that’s perhaps more factual history than you’ll gleam from the show).

For a company that has in part a history in presenting intelligent gay theater, crass stereotypes were the go-to for cheap laughs, particularly in “The Corrupt Bargain.” Whether this was a choice made by the individual male actors or director Scott Ferguson, it’s a bit of a head scratcher.  Just what do we think is witty, sardonic or “post-modern” about the embrace of gay stereotypes, gentlemen?

It’s also likely that the play’s unconventional format and 11^th hour shift to a more serious tone will bewilder some theatergoers.

Bailiwick Chicago’s production of “Bloody Bloody Andrew Jackson” runs through Nov. 11 at the National Pastime Theater, 941 W. Lawrence, 4^th floor. Tickets, $25-$30. Free performance on election night (Nov. 6) with proof you voted. bailiwickchicago.com

Nightblue's "Avenue Q" a pleasant surprise

The cast of Nightblue Performing Arts Company's "Avenue Q"


Suburban-based Nightblue Performing Arts Company isn't exactly a known commodity in the Chicago theater community, but I suspect that will soon change on the bases of their production of the Tony award-winning musical "Avenue Q." Acting, singing, choreography, production values and orchestration elements were all high, well exceeding the $30 ticket price. The bar has been set high for their next Chicago endeavor, but I'm getting ahead of myself.

The show is a loving spoof and homage to children's television programs (specifically "Sesame Street," but there are also jokes referencing "The Electric Company" and others). Naive, wide-eyed recently college graduate Princeton (Adam Fane) finds himself on the Avenue after starting at Avenue A and continuing to move down through both streets and alphabet letters until he finds a neighborhood that he can afford. Q is home to an idealistic teaching assistant Kate Monster (Casi Maggio) who dreams of opening a special school for monsters (a Monsterssori), happy-go-lucky intellectual Nicky (Jason Richards Smith), Nicky's uptight, closeted, Republican roommate Rod (Fane), a would-be therapist Christmas Eve (Kate Garassino), her unemployed, ne'er-do-well fiance Brian (Alex Heika), resident porn sexpert Trekkie Monster (Smith) and the down-on-his luck former child star and now superintendent Gary Coleman (yes, that Gary Coleman and played by David Robbins).

Adam Fane as Princton in "Avenue Q"

In the dual role of Princeton and Rod, Fane is equal parts charming, boy next door and repressed, ranging closet case. Fane is able to switch characters quickly and each has their own unique mannerisms, singing voice and speaking voice.

As Kate Monster, Casi Maggio is the heart of the show. She has a lovely voice that is powerful when it needs to be, yet she is able to capture Kate's vulnerability as well.

As Nicky and Trekkie Monster, Jason Richards Smith lands all of the comedic moments. His Trekkie is less creepy and more lovable. Despite his computer addiction, you want to just give him a hug.

As Christmas Eve, Garassino manages to be more than just a racial stereotype for laughs. Her nuanced performance of "The More You Ruv Someone" was both heartfelt and funny.

Heika has less to do as Brian (the fault of the script and not his acting or vocal talent). Double casting him as one of the Bad Idea Bears was sheer genius as it gave him more opportunity to display his comedic timing.

Several other things set things apart from usual productions of this show. The most noticeable is the company's decision to create their own puppets as opposed to renting them. With the exception of Lucy the slut, the puppet designs by Noah Ginex bare little resemblance to those used on Broadway (the same puppets people usually rent). As a result, the production is able to forge its own identity.

The second was director David E Walter's decision to forgo puppets for the Bad Idea Bears (a trio of mischievous minor characters in the show). Actors don teddy bear costumes and we can see their facial expressions (obviously far more expressive than a puppet's).

The third thing is Mike Mendiola's choreography. While the original Broadway production had some dancing, there is more of it here. Though it is the puppeteer whose feet are moving, rather than separating us from puppet, in some strange way it feels like the puppeteer's feet are an extension of the puppet.

The end result was a smaller production that almost rivaled its Broadway counterpart. No easy feat for any company, let alone one trying to establish itself in the competitive Chicago market.

Nightblue Performing Arts Company's "Avenue Q" runs through Oct. 14 at Stage 773, 1225 W. Belmont. Tickets, $27-$30. Call 773-327-5252. nightbluetheater.com

Leg Warmers and short shorts: A chat with Xanadu's Gina Milo and Chris Critelli

Cross posted from Broadwayworld.com

The '80s are back, courtesy of Drury Lane Theatre's production of the Broadway hit "Xanadu." 

Based on the 1980 flop that feature Olivia Newton John and a score by Electric Light Orchestra, the show's neon lights will shine through Oct. 28. 

I caught up with stars Gina Milo and Chris Critelli, who play the muse Clio and the struggling artist Sonny respectively, to talk about all things '80s.  

Q: The film “Xanadu” is considered by many to be a guilty pleasure, what’s your guilty pleasure?

Gina Milo: My guilty pleasure is anything with sugar. Cupcake, cookies, ice cream, I don't discriminate. I don’t allow myself to eat sugar when I'm doing shows, but when I'm not, look out!. 

Chris Critelli: I'd have to say my guilty pleasure is greasy, disgusting street food in New York. The kind of stuff you get late at night. I’ll never stop loving it.

Q: What was your reaction to the film when you first saw it?

GM: The first time I saw it was after I got cast. It’s pretty bad. It’s awful in a kind of wonderful-awful way. You have to keep watching because it’s so awful. We hadn't even had the first rehearsal and I was thinking 'Oh, my God, what have I gotten myself into." 

CC: I was the same. I first saw it when I was preparing for the show a few months ago. It was hard to get through. The film 'Xanadu' is a journey, but it's not an easy one to take. It's got great music, but it hard to hear it over the sound of Gene Kelly spinning in his grave. You can see in the film that he is delivering every line with gritted teeth. You can almost hear him thinking 'I can't believe this is really going to be the last movie I’m ever going to make.'

Q: Why does the film and musical have such a cult following?

GM: I think for a lot of people, the film represents freedom. There is a lot of freedom in it. Individuality, sexuality. So many abstract things happening in it. When I watch it, I see all these different types of people in the ensemble. Everybody belongs in Xanadu and that maakes you feel accepted, too.

CC: I've got to say it's mostly the short shorts my character wears [laughs]. Seriously, though. The film and subsequently now the musical really tap into the pulse and energy of the era. You can't think of the '80s and not think of the pop music of the era and this show has got it.  'Xanadu' is all about the music, the colors and the pure joy that the decade represented. 

Q: The show both celebrates and lampoons the ‘80s. What is one thing from that era you’d like to see make a comeback and why?

GM: Leg warmers all the way. When I got cast, my husband was most excited about the leg warmers. I couldn't understand why until I put them on. They are really sexy, surprisingly. They're slouchy-sexy, if I can coin a phrase. 

CC: Deloreons, of course. Especially the flying kind! It is such a ridiculous car. With the way the doors open, you can't park them anywhere. So, yeah. Deloreons. 

Q: Conversely, what’s one thing that should stay buried in that time capsule forever?

GM: I would say the garish make up. It was pretty intense. Hot pink is fine on your clothes, but not on your face.

CC:Crimped hair. It is so silly. Crimped hair needs to be locked in a vault in the dark somewhere.

Q: What attracted you to your respective roles?

Gina Milo

GM:There were a couple of things. It's a great vehicle for a quirky girl like me. I usually get cast as the sidekick. This is one of the few shows where you can be quirky and still be the lead. Secondly, I admired Olivia Newton John. To mimic her is a dream come true for the five year old in me.

CC: It’s just pure joy. I get to have fun, sing awesome '80s pop rock and be funny for two hours. The score is amazing and I'm fortunate to get to sing it. You forget the hits ELO wrote. It's the same reaction I had with J'ersey Boys.' You forgot about their incredible music catalaog. Their music was soundtrack of people'slives back in the day for a reason. It's great.

Q: Speaking of the score, do you have a favorite song in the show?

GM:I'll keep it to four. I love anything from the '40s, so I adore "Whenever You're Away From Me" and "Dancin'". I love singing "Suddenly" with Chris. We harmonize really well on that song. And I'd be remiss if I didn't mention "Xanadu," of course. 

CC: My favorite is also my most hated. I love "Suddenly.' It's a beautiful song and the moment is so hysterical. Gina is such a big ball of warmth. We met each other in New York before rehearsals started and five minutes into lunch we were telling each other our dark secrets. She is this best friend who I happened to meet later in my life and I love being able to have that moment on stage with her.  I hate it thought because I'm in a phone booth and I have to magically change into roller skates in nanosecond.

Q:The show requires roller skating skills, was that daunting or are you a natural on 'heels with wheels'?

GM:I wasn’t scared, at first. I used to roller skate with my dad when I was a kid and figured how hard could it be? Then, when I realized we had to be dancingin roller skates, I had an emotional break down every other day. Now, I;m best friends with my roller skates.

Chris Critelli

CC: 'Heels on wheels' -I love that! I'm going to use that. I had done some skating in middle school back in Buffalo. Even so, I was terrified. I had the icy fear of meeting my roller-death. Humans were not meant to move that way. I'm getting used to it, though.

Q: Most people don’t know their Erato from their Terpsichore. Where you familiar with the Muses and mythology before the show, did you have a crash course in it or is it all still Greek to you?

GM:I can pretty much point to mythology as being the one course in junior high that got me kicked off the honor role. I was terrible with mythology. So, I had to really study to prepare for the show. I realized I love the muses and the gods. They are all so dysfunctional. 

CC:I grew up as a chubby nerd. I was really into Greek mythology. I would spend hours at the library reading all the books. Creatures. I grew up watching all those Ray Harryhausen movies. I love the fact that the cyclops and the minotaur have cameos in the show. 

Q: Chris, your character wears some short shorts. Any concerns about staying warm or fitting in them?

CC: It is definitely a concern! The more you wash 'em, the more they tatter. By the end of the run, there might not be anything left! As for fitting in them, I plan a steady diet of awesome '80 workout video tapes to keep in shape. 

Q: Gina, any tips for nailing an Australian accent?

GM:It's very hard. British is way easier. You have to keep your tongue forward and lyour mouth ight. It's almost like a smile. . That’s the magic formula. the 'O' vowel is the hardest. 

Final question: Who is your muse?

GM: I go back and forth between my mother and husband. My mother is such a character. I've tried to bring aspects of her into all my characters. My husband cheers me on. Actually, they both do. 'Xanadu' has me out of my comfort zone, doing things that are very different for me. To know that they are both their supporting me, it really helps me find the courage to tackle this.  

CC: I would also say my family. My parents and sister. I owe who I am to those three people. I can only hope I make them proud.

"Xanadu" runs through Oct. 28 at the Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace. Tickets, $20-$45. Call (800) 745-3000. drurylaneoakbrook.com

The musical dream works at "SteamWerkz: The Musical"

The ensemble of "Steamwerkz: The Musical" from left to right: Rob Anderson,
Ben Kramer, Chris Kervick, Jason Geis, Zach Zimmerman, Andy Eninger and John Loos

Cross-posted from BroadwayWorld.com

On the surface, a musical set in a popular Chicago gay bathhouse might appear to be an unlikely setting for a musical. Yet, much like another Chicago-born musical “Urinetown,” “Steamwerkz: The Musical” manages to serve up a fairly satisfying –dare I say traditional- musical despite its rather unique setting.

Directed at a fast pace by Clay Goodpasture with musical direction by Tara Trudel, the show is a modern reinvention of the classic “Alice In Wonderland” tale.

New to Chicago, Nebraska farmboy Al (John Loos) is no sooner lamenting to his best straight gal pal (Jason Geis) of his lack of fitting in at any of the various Boystown bars and clubs when his eyes lock with his personal white rabbit, the tall, dark and handsome Stephen Stephan (Rob Anderson). Al follows Stephen down the proverbial rabbit hole into Steamworks (the alternate spelling of the title predates the Chicago spa’s coming on board as an unofficial sponsor of the show).

Twinkie Dee (Zach Zimmerman, left) and Twinkie Dum (Chris Kervick)

Once inside this magical gay wonderland, Al encounters Twinkie Dee and Twinkie Dum (the equally hilarious Zach Zimmerman and Chris Kervick), the bathhouse’s towel boys and unofficial tour guides.

Along with the ever-grinning Chester (Andy Eninger), Dee and Dum quickly give Al the “Lay of the Land” with a tune that lays out the rules of the club in an amusing fashion. Al receives further advice by the show’s catapillar, an ex-military man named Dewayne (Ben Kramer). Wonderland’s smoke haze is replaced here with the steam of the sauna.

The star-crossed, wouldbe lovers Al (John Loos, left) and Stephen Stephan (Rob Anderson).

Before long, Al has found his object of affection, but there is of course one hitch. Stephen is attached the club’s queen of hearts, the King of Steam (Geis as less a queen of hearts than sea urchin from “The Little Mermaid” ).

Stephen Stephan (Anderson) and
the King of Steam (Jason Geis)

The King has eyes and ears throughout the club which makes the consummation of Al and Stephen’s love a precarious affair. After all, no one wants to lose their head.

Loos looks and acts the part of a fish-out-of-water farmboy quite well. He did have some trouble finding the pitch in several of the first act songs, though. Anderson managed to carry much of the show with perfect pitch and comic timing.

With its composite of various melodies, the first act ended “Fall Into the Hole” is reminiscent of “One Day More” from“Les Miserable.” Another first-act number includes a chorus of towel-clad tap dancers (albeit with bare feet; no one wears tap shoes to a bathhouse).

At the core of the show (and why it works as a musical in a traditional sense) is the fact that most of the characters are seeking love, but settling for less. That, along with the show’s climactic number “Happy Endings” are the fodder of universal truths in musical theater.  

In fact, it is exactly the kind of breezy, gay-themed musical theater David Zak used to frequently preduce as part of the Bailiwick Theatre's Pride series. The show serves a niche not unlike the productions from Hell and a Handbag and the Scooty and JoJo Show. It's a fun, campy romp and the type of show Chicago's professional queer theater companies (Bailiwick Rep and About Face) don't seem interested in producting anymore, alas.

The show could benefit from the addition of harmonies (far too many of the ensemble songs are in unison) and a lead actor capable of singing them. For the most part, “Steamwerkz: The Musical” delivers enough eye candy and laughs to make it worth falling into the hole, though.

“Steamwerkz: The Musical” runs Fridays at 10 p.m. through Oct. 5 (no show Aug. 17) at the Annoyance Theatre, 4830 N. Broadway. Tickets, $20. Call (773) 561-4665. theannoyance.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.

Christopher Sieber shines in "La Cage aux Folles"

by Misha Davenport
(cross-posted from broadwayworld.com)
It’s hard to believe that the musical version of the French farce “La Cage aux Folles” is almost 30 years old. And yet, the original stage musical first premiered back in 1983.

The core story concerns Georges (George Hamilton), a middle-aged owner of a drag night club called “La Cage aux Folles” and his husband and drag muse Albin (Christopher Sieber)

Albin worries about growing old and losing Georges to a younger man. He abates his fears by putting “a little more mascara” on and it is under the mask of the feminine that Albin, as the club’s star Zaza, is able to face what life throws at him.

Until, of course, until the son they have raised together (Billy Harrigan Tighe as Jean-Michel), returns home to announce his engagement to the daughter of a conservative politician and his desire that when the future in-laws meet his parents, that Albin is out of the picture.

As Albin, Sieber is the reason to see this current tour. His rendition of the first act closer “I Am What I Am” is delivered with all the raw emotion and intensity needed for such an anthem. It’s a performance on par with Jennifer Holliday’s “And I Am Telling You, I’m not Going”(from “Dreamgirls”) and Patti LuPone’s “Rose’s Turn” (from “Gypsy”).

Unfortunately, Hamilton fares far worse as Georges. I actually caught Jeffrey Tambor in the Broadway revival shortly before he quickly left the production and Tambor offered more in the role. Hamilton’s wooden performance and occasionally flat delivery of both line and lyric means he joins the growing list of iconic celebrities to grace the Chicago stage in roles that are ill-suited for their talents.

Jerry Herman’s score has never sounded better. My problem has always been that Herman was a little bit too eager to reprise many of the catchy tunes to death. Still, it is a rare musical composer who manages to leave you wanting more, not less.

In terms of gay theater, “La Cage” belongs on the list alongside “Angels in America,” and “The Boys in the Band.”Without a doubt, it was and remains remarkably ground-breaking given the gay family central to its plot. Harvey Fierstein’s book, while edgy in the ‘80s, still manages to feel somewhat contemporary thanks in no part to the glacial speed at which gays and lesbians have received access to basic civil rights (Even a blue state such as Illinois still only has civil unions --a foot in the door, one toe at a time, if ever there was one).

If the show feels dated at all, it is in the fact that a same sex kiss is saved for the end of the second act (as the final curtain is descending). In an era when gay teens are losing their virginity in the primetime world of “Glee,” a same sex kiss at curtain seems hopelessly old fashion.

“La Cage Aux Folles” runs through Jan. 1, 2012 at the Bank of America Theatre, 18 W. Monroe. Tickets, $32-$95. Call (800) 775-2000; www.broadwayinchicago.com.

My BroadwayWorld Chicago review of "Chicago" is up.

Needless to say, I loved, loved, loved this show.
Here's the review.

Ben Brantley agrees with me..."Mormon" is a hit

I happened to catch "The Book of Mormon" in one of it's first previews last month and loved what I saw. Now that the show has officially opened,, the reviews are starting to come in.

From Ben Brantley's review in the New York Times (complete review can be found here):
This is to all the doubters and deniers out there, the ones who say that heaven on Broadway does not exist, that it’s only some myth our ancestors dreamed up. I am here to report that a newborn, old-fashioned, pleasure-giving musical has arrived at the Eugene O’Neill Theater, the kind our grandparents told us left them walking on air if not on water. So hie thee hence, nonbelievers (and believers too), to “The Book of Mormon,” and feast upon its sweetness.

Over at the New York Post, Elizabeth Vincentelli also raved (complete review can be found here):

Told the creators of “South Park” were making a Broadway musical, you’d naturally expect a broad, foul-mouthed, juvenile, scatological, irreverent satire.
Sure enough, “The Book of Mormon,” which opened last night, is all that — and much, much more. It’s a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza.
The show’s a hoot. The show’s a hit.

The show is my front-runner for this year's Best Musical Tony. This is the show to see this season on Broadway.

"Spidey" Musical Claims Another Victim

Oh, what a tangled web "Spider-Man: Turn Off the Dark" weaves...

T. V. Caprio (left), who plays the designer shoe-wearing supervillain "Arachne" in the troubled Broadway Musical, has been sidelined for two weeks after sustaining an injury during a performance.

America Olivo will be taking over the high-flying role while Caprio recovers.

Caprio was a permanent replacement for Natalie Mendoza who originated the role but left the production after suffering a concussion.

For those keeping score, Caprio is the fifth actor to report she sustained an injury while performing in the $68 million musical that has been in previews since November.