http://www.thewritehag.com/Description.en-usCopyright 2009. All Rights Reserved.SueSue20092009AnythingMyGenesis CMS WebProhttp://backend.userland.com/rss60 http://www.thewritehag.com/archive.php?guid=9mdsy1sa By Sue Langenberg


The Friday evening performance of the Joffrey Ballet was a brilliant display of energy, history and all that makes a mixed program an inspiration on so many dance levels.
Program opener “Interplay” by iconic choreographer Jerome Robbins was pleasantly frisky with a playful mix of ballet and jazz. To music of Morton Gould, eight dancers frolicked through four divertissements “Free-Play,” “Horse-Play,’ “By-Play” and “Team-Play.” As the piece developed, so did the intensity until after the pas de deux by Mahallia Ward and Graham Maverick, it became a marathon of technical prowess with masterful and clean double tours by the men and zappy fouette turns by the women.
By our standards in the Third Age of dance, “Interplay” might seem rather dated. With its 1945 premier, however, it must have come across as a barnstormer of ballet much like George Gershwin’s “Rhapsody in Blue” that pushed a musical envelope and sparked equal debate in the ‘20s. Both works teased the rather comfortable mid-century audiences out of familiar patterns of the classics into a frenzy of nouveau appreciation. For Robbins, the choreography was a mere precursor of what would yet come in his career when West Side Story became a signature creation in 1957. Sometimes composition of Leonard Bernstein’s opening of “Dance At The Gym” is hardly less stirring than the opening measures of ‘Rhapsody.’ In any event, “Interplay” holds up as a marvelous fit for today’s Joffrey dancers.
Premier work of the evening was “Son of Chamber Symphony” a work choreographed by internationally acclaimed Stanton Welch to the music by John Adams. The contemporary machinations of this work tested an ensemble of dancers into temporary arcs of familiarity, then into an undoing of mechanical visions, much like the music led the way, sometimes evenly measured, sometimes contrapuntal. Even the tutus, designed by Travis Halsey, were stark visions of perhaps Saturn’s rings, or exact circular cogs within a clock. The patterns and movements were engaging in search of one’s own impressions. Notable pas de deux was performed by April Daly and Dylan Gutierrez in the Second Movement. Daly was hardly recognizable as her regular regal presence, a sign that she is maturing into a most versatile dancer with the strong partnership with Gutierrez.
In honor of what would have been choreographer Gerald Arpino’s 90th birthday, the program included an anesthetic pas de deux featuring Victoria Jaiani and Temur Suluashvili as they oozed their way through “Sea Shadow.” With the melodic music of Maurice Ravel, Arpino created this timeless piece in 1962 inspired by fable “Ondine.” His visionary pearl brings a man on a beach and a sea nymph into an unworldly passion, maybe real, maybe not. But for the breath-holding essence of each fluid penche, each yearning pors de bras by wispy Jaiani, one gets lost between worlds. The strings of Ravel stir further deep passions, eloquently (and strongly) portrayed by Suluashvili. This piece will live on.
“Nine Sinatra Songs,” choreographed by Twyla Tharp, takes this ‘50s retro work into many moods of romance. American innovator Tharp has always been no stranger to pushing the dance envelope as well as establishing a keen reputation of contrapuntal sections. She is extraordinarily capable of humor when it comes to social foibles. Her ensemble work, however, becomes fractured by a distracting busyness, maybe too intellectual for any audience to appreciate. The work took the females from pointe shoes to high heels, no easy task, into athletic ups and downs to Sinatra’s soothing love. Highlight of the piece was a spitfire Yumelia Garcia who traded her fairy-like tiara and tutu into masterful versatility. The house loved her as she is a perfect fit for Joffrey.
The entire company is so accomplished in its presentation that it was a pleasure to lay bare the real intent of choreographer, eras and direction.


writehagreviews9mdsy1saSat, 16 Feb 2013 12:24:06 -06000 http://www.thewritehag.com/archive.php?guid=9yhdfaxz‘Greetings!’ well greeted at Pec Playhouse.
By Sue Langenberg

Pec Playhouse Theatre celebrated a holiday rousing play “Greetings!” throughout November and December.
It was Tom Dudzick’s first play that began his career with a bang. It appeared off-Broadway starring Darren McGavin. By the early ‘90s, the two-acts reached across the country to the praise of critics everywhere as a holiday comedic staple. Following this success, Dudzick put out some eight more plays, often openly poking fun at the very subjects that we are all cautioned to avoid; religion and politics.
So the play is not lighter fare where we fold our hands and noel ourselves into haze of polyester appreciation; it’s better than that. All in the space of Christmas Eve trappings, five cast members take family dysfunction into new heights with oppositional characteristics and, above all, suspension of disbelief.
That was exactly the purpose of PPT director Michael Dice when he researched holiday plays beyond well-worn favorite “Christmas Carol,” his first of eleven plays that he directed for this theatre. And, indeed, “Greetings!” makes you laugh, think and ponder all that is beyond our little day-to-day box. Most of all, “…man’s love affair with fear.”
A couple from New York visits his parents in Pittsburgh. Andy Gorski was raised Catholic and Randi Stein is atheist Jewish. If that were not the initial setup for conflict, the real hilarity unfolds as his parents are most Archie Bunker-esque about their life, religion and petty conflicts within their marriage. But there’s more. If that backdrop of dysfunction is not enough, there’s another character that seems to rattle everyone’s cage of reality with the addition of Andy’s most retarded brother Mickey. He cannot speak or function properly, but somehow a Christmas miracle happens as he suddenly morphs with eloquence and profoundness beyond a level of worldly understanding.
The jaw-dropping action by actor James Castree is precisely where the suspension of disbelief occurs in this play. The other characters are shocked, but so is the audience as each articulation reaches beyond the script, beyond the seats looking on and beyond a current reality of our smallness in this world. What would he say next? And a leap of understanding might hold it’s breath until he elaborated.
Castree does a marvelous duality of two opposing characters using two distinctly diverse body languages. Well performed. Well felt, as are others that feed the frenzy of conflict. As father Phil Gorski, Ronald Pirrello is properly cankerous about his small mindedness right down to the waving of a know-it-all cane. Frequent PPT flyer Laura Wiegert fritters and serves well as the shallow appendage of the family. Ben Riddle as Andy and Erin Hannigan as Randi are well-cast to question all extremes that fly back and forth.
Set and lighting design by Arnie Ames was effective as was sound design by Glen Wiegert. Set decorator Linda Johnson with the help of props gal Pamela Smith enhanced the Archie Bunker-esqueness at the request of Dice with all the gee-gaws and doo-dads necessary for visual entertainment. It all came together in this play.
December must see at Pec Playhouse Theatre runs weekends through December 2. For more information contact (815) 239-1210, or www.pecplayhouse.org.
writehagreviews9yhdfaxzSun, 18 Nov 2012 13:04:44 -06000 http://www.thewritehag.com/archive.php?guid=8rypda53My flakes versus your flakes.
By Sue Langenberg


There is a nut case in every neighborhood. This one knocked on my back door the other day first thing in the morning.
I could tell already by the frumpy sound of the knock that I was guilty of something. There are knocks from a friendly neighbor to announce the birth of a new baby. There are knocks from neighbors during the holidays to leave cookies and best wishes. I once heard a knock to ask if I needed help with my grass.
This knock shook the door with hostility. Had I known what was coming, I would have played deaf. Too late, I opened the door and recognized the neighbor across the street.
He’s the one who stands at the edge of his property in the summer and glares my way because a fleck of dandelion from my garden might waft his way. He can tell because my dandelion flecks have nametags on them. His rectangular grass blades salute in perfect order and bushes are geometric perfection. He just knows that I am the enemy because my flowers seem disorderly.
In the fall, no self-respecting leaf would blow in his direction. If so, he would look up and down the street to see whose nametag is on that wayward leaf.
So our recent storm brought no less than 14 inches of snow. Out came the shovels, blowers, and neighborly greetings to make sure that we were all safe and cleaned up.
It was inevitable that this frumpy knock would lead to some major felony that bothered his perfect little world. There was no “hello,” “how are you?” or “excuse me.” Just a glare.
I’ve driven down country roads two states away where people routinely wave at complete strangers. I have lived in the city where people say “hello” on subways. I have waved at intersections to complete strangers, “thanks for letting me go first.”
But this aforementioned nut case glared without greeting. He was convinced that my personal snowflakes were bothering his personal snowflakes. There were a million of my nametags to prove it. He probably sorted them out only after taking a hairdryer to the perfect cement in his driveway. In fact, in case anyone missed the weather report during that storm, local meteorologists cautioned that I funneled the entire blizzard to dump mountainous snow on his driveway.
He threatened to “Call the mayor!” twice. Gee I was scared. Hello Mr. Mayor! I know that you have nothing to do, but you probably should haul in the FBI to investigate the DNA on my personal snowflakes. If arrested, please Mr. Mayor, allow me one phone call to my lawyer who specializes in serial snowkillers.
Meantime, he parts his curtains to glare all day, hoping to find somebody somewhere breaking some law so he can “Call the mayor!” With any luck, he’ll find some old law on the books that says no one is allowed to chat in front of their houses.
Probably the worst offense about having such a glaring nut case is having no small but powerful greeting, “hello,” or “excuse me, but could we cooperate about…” or even a smile that says it might be good to be alive. Apparently his grandmother never told him that you could kill more flies with honey than vinegar.
In my mind, there is only one solution for neighborhood nut cases. Throw a block party in the summer with dandelion decorations, have a leaf-piling party in the fall and carol in front of his house during the holidays about the Grinch.


writehagcolumns8rypda53Mon, 29 Oct 2012 08:55:23 -05000 http://www.thewritehag.com/archive.php?guid=bpy7kecvAn enchanted evening at Timber Lake.
By Sue Langenberg

Final show at Timber Lake Playhouse of this season opened last night with “Some Enchanted Evening, The Songs of Rodgers & Hammerstein.” Based on the concept by Jeffrey B. Moss, it was an elegant display of some of the most memorable songs and lyrics from most memorable shows including “Oklahoma,” “South Pacific,” “The Sound of Music,” “The King and I” and “Carousel” among others.
The famous collaboration of Richard Rodgers and Oscar Hammerstein created a musical revolution in the ‘40s and ‘50s, often referred to as “The Golden Age” of Broadway. The songs were uplifting and memorable while various social issues were integrated within the plot such as racism (“South Pacific”), domestic violence (“Carousel”) and the Von Trapps in a Third Reich environment (“The Sound of Music”). However deep the backdrop of stories, we still leave the theatre with a song in our heart and a spring in our step.
The collection of songs in two acts of “Some Enchanted Evening” lifts the romance from the sets, dialogue and stories to become a display of appreciation all its own. These are the songs that we have always known and loved perhaps while falling in love ourselves along the way. Artistic director Jim Beaudry wanted “elegance” to describe the royalty of this revue and indeed the very sight of the grand piano, tuxedos and long gowns (costumes by Tate Ellis and Katy Freeman) elevated the evening into grand night for singing.
It only took six glorious voices in the cast, minimal set, and the piano mastered by the trilling and busy fingers of TLP’s Kyle Branzel. Yes, he reads as “music direction” on the program, but was there for every note, every key change, every cue and even his own songs to sing including “Everybody’s Got a Home But Me” from “Pipe Dream.” He is an extraordinary talent from Roosevelt University’s College of Performing Arts where he pursues a degree in Musical Theatre. It is his first experience at TLP and hopefully he will return.
The five other marvelous voices were Samantha Dubina, Melissa Griffith, Henry McGinniss, Dryden Meints and Analisha Santini. It was a special chemistry of vocal strengths that Rodgers and Hammerstein would certainly approve of. Guest performer Dubina returned for this show having been cast in many TLP productions including “Buddy Holly,” “The Best Little Whorehouse in Texas” and “Spelling Bee” among others. She is a fearless, out front performer with strong characterizations in “I Can’t Say No” and “A Cockeyed Optimist.”
About elegance, guest Melissa Griffith was designed to sing these romantic songs. Her statuesque presence and lilting soprano defined the magic of love especially in “Out of My Dreams” and “It Might as Well be Spring.” Her light work was well-balanced by Santini whose strong voice sang “Love, Look Away” and blended well with Dubina and Griffith in “Out-a My Hair.” Resident performers McGinniss and Meints were designed to be a romantic leads whether solos or duets.
“Some Enchanted Evening, The Songs of Rodgers & Hammerstein” continues Friday, August 17 and runs through Sunday, August 26 including four matinees at Timber Lake Playhouse. Tuesday through Saturday evening shows at 7:30 p.m., Saturday, two Sundays and Wednesday matinees at 2 p.m. (No evenings August 19 and 26). The Mt. Carroll boonies are a hop, skip and a jump to 8215 Black Oak Road. Call the box office at (815) 244-2035 or boxoffice@timberlakeplayhouse.org for tickets, group rates and more information.

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writehagreviewsbpy7kecvFri, 17 Aug 2012 11:55:49 -05000 http://www.thewritehag.com/archive.php?guid=0cx75cz1Strong ‘Cabaret’ at Timber Lake.
By Sue Langenberg

A roaring season at Timber Lake Playhouse continues as fifth show, “Cabaret” opened last night to a nearly full house. The momentum of this summer continues as each show seems better than the last.
There really are cabarets on stage and off, though we usually refer to them as nightspots or other clubs of entertainment, sometimes on the edge that cater to all the vices, especially this show’s Kit Kat Klub. “Cabaret” is an electric collaboration of John Kander and Fred Ebb that began a long journey on Broadway in 1966, followed by several revivals during which Joe Masteroff’s book was revised based on play, “I Am a Camera,” by John van Druten after “The Berlin Stories” by Christopher Isherwood. With so much input underneath, it is clear that the dawn of dark times provided inklings of passion by many.
Historically, this musical digs into one of the most threatening psyches of our historical memory as Berlin decays into its own extremes at the dawn of World War II. It proves with a long account of other gloomy eras of radical behaviors that the arts are often the last bastion of hope. Examples of such tremendous musical inspiration that rise from hopelessness happen in “Fiddler on the Roof” about religious prejudice and violent gang activity in “West Side Story, among others.
Lili-Anne Brown was special guest director for the show with much theatre savvy to offer. She returns to TLP after directing credits that include “Sweet Charity,” and performed and assisted in “Ain’t Misbehavin’” and “Ragtime.” She is passing through the area to do her Off-Broadway debut in “A Twist of Water” in the fall.
Artistic director Jim Beaudry says about Brown that she has a gift for storytelling that evenly balances the reality of evil in a musical venue in a moving -- yet not fluffy -- stream of fantasy -- yet real. Especially difficult, Beaudry says, is directing a cast to respond to innocence without knowledge of impending doom that the audience so well knows. Brown herself comments that the show isn’t about showcasing the “sleaze” factor, but rather bringing hope through decadence.
While it may seem that the Master of Ceremonies was literally the master of ceremonies, the character serves as rather a metaphoric commentary, sort of like the Ancient Greek Chorus clucking chicken house style of fate in the making, Joe Capstick fit the bill exactly with his ghastliness of presence and shockingly realistic lewdness. You couldn’t help but jive your shoulders from the very moment he opened the show.
It takes a toughness, yet sweetness quality for the character Sally Bowles to further the metaphoric indications of this historical backdrop. Alexandra E. Palkovic sang her toughness in the show’s signature “Cabaret” song and her sensitiveness in “Maybe This Time.” Dryden Meints as American Clifford Bradshaw was a perfect match to Palkovic with his warmth of acting and singing, especially in “Perfectly Marvelous.”
Returning TLP singer/actress Judy Knudtson as Fraulein Schneider delivered a most lovely and reliable performance in a very difficult role. If there are tricky intervals and notes to find, she does it with east and beauty. Her duet work with vocally strong Rus Rainear as Herr Schultz was a solid piece of the story.
A marvelously tawdry Analisha Santini as Fraulein Kost and Andrew Way as Ernst Ludwig were key to reaching into the soul of the story, especially the song “Tomorrow Belongs To Me,” that always proves so compelling in a chilling way -- whether with music or a cappella – that we hardly know how to react. Music directed by Cindy Blanc was ominously hovering over the stage.
Choreographer Andrew Parker Greenwood put the sleaze into motion, especially in bawdy and hysterical “Two Ladies” featuring notable dancer Zak Jacobs and Erica Stephan with the Master of Ceremonies.
Must-see “Cabaret” continues Friday, August 3 and runs through Sunday, August 12 including four matinees at Timber Lake Playhouse. Tuesday through Saturday evening shows at 7:30 p.m., Saturday, two Sundays and Wednesday matinees at 2 p.m. (No evenings August 5 and 12). The Mt. Carroll boonies are a hop, skip and a jump to 8215 Black Oak Road. Call the box office at (815) 244-2035 or boxoffice@timberlakeplayhouse.org for tickets, group rates and more information.

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writehagreviews0cx75cz1Fri, 03 Aug 2012 12:14:12 -05000 http://www.thewritehag.com/archive.php?guid=rus4z6jqTimber Lake on a roll with ‘Boeing Boeing.’
By Sue Langenberg

Show number four “Boeing Boeing” opened last night at Timber Lake Playhouse. The show follows record-setting musical “Footloose” that added a performance by popular demand. After three musicals this season, the summer stock theatre changes gears to a hilarious and fast-paced comedy. Artistic director Jim Beaudry, cast, crew and audience are on a roll now!
“Boeing Boeing” is a French farce, classic with the slamming doors and all. In fact, the moment you walk into the theatre, you count the doors, a total of seven at this TLP production. Comments all around were such that one knew that there would be lots of slamming action.
The farce was written by playwright Marc Camoletti in the early ‘60s and by 1991 was listed as Guinness Book of Records’ most performed French play in the world. In 2008, it won a Tony award for Best Revival of a Play.
For this TLP production, guest director Derek Bertleson returns with his most familiar work to achieve precision timing after “Love, Sex and the IRS” of 2010. He was keenly able to get choreographic moves, tableaus and expressions that seemed to say “whiz” with each gesture. Some of his other credits include Chicago work with Goodman Theatre assisting Chuck Smith in David Mamet’s RACE and directing, among others, “Into the Woods,” a show that deserves more attention.
Most entertaining about the classic farce is the total ridiculousness of a plot, rather than the development of a character. The characters are already in place, conflicting by their very nature and thrown at each other with predictable incongruence – a major ingredient of comedy. In this play, six characters are completely at odds with each other by their very entrances and dialogue. A suave bachelor with an awkward womanless friend – the recipe for many famous comedy duos; Dean Martin and Jerry Lewis, Laurel and Hardy, for example.
So with all the doors slamming, you might guess that there is suspicious behavior at each entrance and exit with many shocks in between. Lead character Bernard is the suave and confirmed Parisian bachelor who has an efficient schedule of three flight hostess women who are scheduled to appear according to their exact flight schedule. He is “engaged” to all three, but does not account for inclement weather, schedule changes and perhaps that Boeing might have invented a faster plane.
Bernard is played by Brandon Jess Ford, a TLP frequent flyer whose many credits include “West Side Story,” “Sunset Boulevard,” and “Children of Eden.” As some generations of actors emulate others, it might be noted that Ford was well-cast for this role because of his image and agility like Rob Petrie in “The Dick Van Dyke Show” of the ‘60s.
Awkward best friend Robert is on hand to wish and wonder about all these women that he perceives he will never have, until the tide turns in the second act. Dryden Meints plays the part well with his rubbery grimaces and astonished reactions. The three women clash as a perfect storm of dysfunction. American gal Janet by Kelly Krauter was delightfully squeaky-voiced as she minced from scenes through doors, French Jacqueline by Hanah Nardone nearly sang her soprano dialogue with campy vibrato and German Judith by Erica Stephan was passionate and overbearing.
All shenanigans of ill-timed comings and goings are to the chagrin of housekeeper Bertha who takes to task keeping everyone straight and organized against each other’s discovery. Analisha Santini is the strong presence of Bertha as she insults her way through every scene while being driven to drink, much like the formidable wife of Tito Merelli in “Lend Me a Tenor.”
“Boeing Boeing\" continues Friday July 20 and runs through Saturday July 26 at Timber Lake Playhouse. Tuesday through Saturday evening shows at 7:30 p.m., Saturday, Sunday, Wednesday matinees at 2 p.m. (No matinee July 26). The Mt. Carroll boonies are a hop, skip and a jump to 8215 Black Oak Road. Call the box office at (815) 244-2035 or boxoffice@timberlakeplayhouse.org for tickets, group rates and more information.
###writehagreviewsrus4z6jqFri, 20 Jul 2012 14:49:50 -05000 http://www.thewritehag.com/archive.php?guid=lyx2yukd‘Footloose’ loose again at Timber Lake.
By Sue Langenberg

The shows at Timber Lake Playhouse are up and down fast as “Working” closed and “Footloose” opened last night. It was a sellout crowd at the summer stock theatre with electric energy throughout the house and on stage.
The “Footloose” film came first in 1984, then the musical in 1998. Like most musicals, the show is the result of collaboration. Tom Snow wrote most of the songs with additional work by Kenny Loggins, Sammy Hagar, Jim Steinman and Eric Carmen. Dean Pitchford wrote lyrics with additional work by Loggins and wrote the book with Walter Bobbie.
The story follows confirmed city rat Ren McCormack as he and his mother are uprooted to a one-horse town where the clash of cultures is evident on many levels. Most alienating to character Ren is that the town has a conservative ban on all dancing led by pious and righteous minister Reverend Shaw Moore. Let the sparks begin!
Ten years ago, TLP produced the show under the direction of Brad Lyons with Jim Beaudry as choreographer. This time, Beaudry is all over the show as artistic director, choreographer and even a bit part in the second act. His special affection for social dancing and talent for historical research makes him a unique qualifier to mount this production. He comments that “social dancing is a human connection to one another.”
Also ten years ago, TLP invited Chicago actor Karl Hamilton as special guest to perform the role of Reverend Moore. This reviewer was there and called Hamilton “strong” with an “engaging voice.” This time, his portrayal is even stronger and more engaging, especially with his emotional baritone offering of “Can You Find It In Your Heart” in the second act. Hamilton has risen from member of cast then to an essential element of self examination in this show, in life. His career spans many TLP productions including “Sound of Music,” “Ragtime” and “Children of a Lesser God” with many Chicago credits that include productions with Chicago Shakespeare, Ravinia Festival and Goodman Theatre.
Also special guest Elizabeth Haley played Moore\'s wife with touching first version of \"Can You Find It In Your Heart?\" Playing rebellious daughter Ariel, Erica Stephan is well cast as “The Girl Gets Around,” a test to her rule-enforcing father. As city rat Ren, Henry McGinniss delivers a skilled performance, including some rubbery Breakdance moves, as does Kyle Branzel as dorky Willard with his awkward second act dance lessons. Supporting gals are Kelly Krauter, Anna-Marie Trabolsi and Hanah Nardone alongside Andrew Way, Tim Wessel, Joe Capstick. Suzie Rogers as Ren’s mother sings movingly with Haley in “Learning To Be Silent.”
This TLP season enjoys one of the best corps of male dancers yet with special note for Zak Jacobs who takes basic ballet art form to newer tricks.
“Footloose” continues Friday July 6 and runs through Sunday July 15 matinee at Timber Lake Playhouse. Tuesday through Saturday evening shows at 7:30 p.m., Saturday, Sunday, Wednesday matinees at 2 p.m. (No matinee July 14). The Mt. Carroll boonies are a hop, skip and a jump to 8215 Black Oak Road. Call the box office at (815) 244-2035 or boxoffice@timberlakeplayhouse.org for tickets, group rates and more information. Note road closures that include Timber Lake Road. From Rt. 78, take 40 East to Black Oak Road and turn right. From Rt. 40 West continue to Black Oak Road and turn left.
writehagreviewslyx2yukdFri, 06 Jul 2012 10:41:09 -05000 http://www.thewritehag.com/archive.php?guid=5ka3ip4u‘Working, A Musical’ works at Timber Lake.
By Sue Langenberg

Show number two at Timber Lake Playhouse “Working, A Musical,” opened last night to praises all around. It is one of those uplifting shows that follow you out of the theatre still humming the last song.
The show is based on Stud Terkel’s book “Working: People Talk About What They Do All Day And How They Feel About What They Do.” The show was adapted by Stephen Schwartz and Nina Faso with songs by Schwartz, Craig Carnelia, Micki Grant, Mary Rodgers, Susan Birkenhead and James Taylor.
Guest director Chuck Smith returns to TLP for his 11th year and comments the summer stock theatre has become a welcoming second home for him. His Chicago experiences are many that include resident director of Goodman Theatre, an Emmy and Jeff Award and several other windy city theatre organizations.
Working alongside Smith is TLP artistic director Jim Beaudry staging musical numbers including rhythmic and clever moves of the factory routines.
There is a saying that, “…when Studs Terkel listens, people talk.” And talk they did during his lengthy radio career on Chicago’s WFMT station. His main focus was years of oral histories of the everyday people, what they did and what they dreamed about. Every story was important to Terkel and best lived in this show as 20 some characters live out their days on the job, whatever it is.
This production is remounted from the original of the ‘70s to pare down to a mere six actors. Performers John Chase, Judy Knudtson, Erica Stephan, Sharriese Hamilton, Dryden Thomas Meints and Andrew Way are thus versatile with quick costume changes and revamped characters as each portrays a different daily grind.
The voices of all six actors are stellar from slick Meints as “Lovin’ Al” the car guy to Way working with his hands as “The Mason.” Knudtson convinces as the 1959 dorky teacher that many remember and is supremely moving in “Just a Housewife.” Stephan excelled in any job she portrayed, notably “I’m Just Movin.’” Powerful and glorious voice of Hamilton took on several moods in “If I Could’ve Been,” “Cleaning Women” and “Un Mejor Dia Vendra” (A better day will come.)
The script is cleanly accessible as it speaks for itself representing the voices from the bottom up, rather than the playwright down. You can almost visualize Terkel with feet across the desk and holding a cigar fascinated about every teacher, mailman, truck driver, iron worker or “Just a Housewife” in the first act.
The segues are equally brilliant as each worker in their own cubicle calculates how many decades until retirement when Chase as a retiree “Joe” appears, slowed and wondering where life went and what to do today. The heart-felt song harkens to a moving piece in musical “Jacques Brel is Alive and Well and Living in Paris,” about the “silver clock that waits for us all.”
Brilliant and inspiring show “Working, A Musical” continues Friday June 22 and runs through Sunday June 30 evening at Timber Lake Playhouse. Tuesday through Saturday evening shows at 7:30 p.m., Saturday, Sunday, Wednesday matinees at 2 p.m. The Mt. Carroll boonies are a hop, skip and a jump to 8215 Black Oak Road. Call the box office at (815) 244-2035 or boxoffice@timberlakeplayhouse.org for tickets, group rates and more information. Note area road closures in June that include Timber Lake Road. From Rt. 78, take 40 East to Black Oak Road and turn right. From Rt. 40 West continue to Black Oak Road and turn left.
writehagreviews5ka3ip4uSat, 23 Jun 2012 17:20:29 -05000 http://www.thewritehag.com/archive.php?guid=98aeo8lo'Guy and Dolls' at Timber Lake.
By Sue Langenberg

Timber Lake Playhouse opened its 2012 season Thursday evening with rousing musical "Guys and Dolls," a timeless show. The summer stock theatre of Mt. Carroll kicked off the 51st year to promise yet another dizzying schedule of six productions and two children's theatre.
Original "Guy and Dolls" premiered on Broadway in 1950 and ran 1200 performances. The award-winning show aligned itself with many others that captured the spirit of decades ago when Broadway danced, sang and uplifted audiences. Some of these other feel good shows of the time include "Oklahoma" (1943), "The King and I" (1951) and "The Sound of Music" (1959), all of which were the creative genius of Richard Rodgers and Oscar Hammerstein. It was Broadway heyday thanks to their winning formula.
"Guys and Dolls," was part of that heyday as a musical fable of Broadway originally based on Dan Runyon short stories and city-slicker characters with music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. Artistic director Jim Beaudry notes that the show has not been produced at TLP for 30 years, and thus felt that it was time to take another look at this delightful piece. Like most shows, this one was born generations before Beaudry and cast. He takes research seriously, however, and is always able to authenticate the feel of the times. Add some slick Oxford shoes (costumes by Tate Ellis and Katy Freeman) and underground lighting (Michael Stanfill design) and the show takes off.
Classic are the characters, as well as the recurring contrasts between love and trust, virtue and sin and all other excuses to sing, dance and fight. Some memorable songs include lover's duet "I'll Know," and "Luck Be a Lady."
Guest choreographer Will Taylor took on the task of visualizing many styles in this production. He directed moves and gestures in the first act with saucy Havana Spanish for couples, then took an all male cast of dancers through Crapshoot Ballet in the second act. It is truly the highlight of the show and perhaps an unwittingly genius creation mindful of much earlier images found in Joffrey Ballet's repertoire titled, "Green Table."
As high stakes gambler Sky Masterson, TLP actor Dryden Meints has it all as lead romantic male with full-bodied vocal abilities and strong presence. He blends well with pious and prude Sarah Brown played by Hanah Rose Nardone, a lyrical soprano whose voice seems to sparkle with her character. Her role from straight-laced to accidentally drunk is a notable accomplishment in the Havana scene.
As comical and tough-talking female Miss Adelaide, Hayley Gribble storms the stage with her "goils' and "poils" slang as she leads her Hot Box Girls through glitzy and campy moves. Fourteen year fiancé Nathan Detroit is an illegal crap-gamer played by Joe Capstick, well cast for his smooth non-truths. The rest of the talented cast will continue to shine as the season progresses.
Must-see "Guys and Dolls" continues Friday June 8 and runs through Sunday June 17 matinee at Timber Lake Playhouse. Tuesday through Saturday evening shows at 7:30 p.m., Saturday, Sunday, Wednesday matinees at 2 p.m. The Mt. Carroll boonies are a hop, skip and a jump to 8215 Black Oak Road. Call the box office at (815) 244-2035 or boxoffice@timberlakeplayhouse.org for tickets, group rates and more information. Note area road closures in June that include Timber Lake Road. From Rt. 78, take 40 East to Black Oak Road and turn right. From Rt. 40 West continue to Black Oak Road and turn left.


writehagreviews98aeo8loThu, 07 Jun 2012 10:06:21 -05000 http://www.thewritehag.com/archive.php?guid=e9z8dnzz'Murder's in the Heir' at Pec Playhouse.
By Sue Langenberg

Community theatre Pecatonica Playhouse Theatre presented comedic and unusual mystery "Murder in the Heir" in April to enthusiastic audiences. The "community" part of this theatre organization was born of determination and passion in the '90s to continue the efforts and experience the performing arts in the area. Each year since, players and volunteers have gained momentum as well as invest in their home in this recycled building in the center of town. The energy moves on and so does the passion.
This show was about a murder mystery; we love them no matter what genre. The romantic element, money-driven motive and cast of characters always satisfy an energy that engages us for either two acts of suspense in the theatre or two hours of the small screen that follow the BMW cars to upscale houses. There is always money and motive to juice up the intrigue along with clapping storms and darkness.
PPT's "Murder's in the Heir," production takes off right away to follow the money as the curtain opens on a drawing room set with lavish furnishings and mansion staff to dress the situation. The visuals are moneyed with a set of velveteen and silver as a backdrop to what might be wealth for an entire cast. All family and staff of the household seem to rub their palms as they mark the impending demise of wealthy Simon Starkweather. He may take his last breath, or may not. The situation will alter the fortunes of all but for the bizarre intention of the estate to be null and void by morning if Starkweather can be scientifically cloned to begin life all over.
Characters of this tense situation run the gamut of extremes that throw themselves at each other with humorous verve. More over, each has an equal motive for murder, as well as a handy weapon. The butler has a wrench to tweak the gas, the nurse has poison at her disposal in the IV drip, the handy man has an ax, there's a fireplace poker waiting to be used, someone carries a gun for fun and, of course, there's always the smooth-talking womanizer.
There was even a "director" character to come and go and interrupt scenes to provide necessary awkwardness to the whole situation, like a play within a play to mock the very idea of drawing room murders.
All of this provided the fodder for the first act. Intermission became part of the show quickly behind the scenes because the audience members voted for the likely murderer. The second act was therefore a mystery at each performance as the actors scrambled to resolve the script according to the tally of votes. This provided an excellent training ground for young performers.
The sleuth on hand, as in every murder mystery, was there to interrogate and unravel the events about who said what to whom and when. Second Act was a series of vignettes within a well-directed pool of light as each story against someone else was told. Someone was lying, and someone was not.
Director Oliver Simpson admits his first attempt at the daunting task of pulling all of this together. Indeed it is never easy to combine some fifteen members of the cast and bring storms, lighting and endless details to a smooth conclusion, especially when high school students already have full schedules.
Actors Olivia Bertelsen, Amanda Busby, Alexandria DeYoung, Laura Dougherty, David Lee Dunsmoor, Michelle Kleckler, Kaila Leonard, Brianna Mackenzie, Emilye Martin, Danny McCaslin, Dylan Nailor, Kiera Rodriguez, Austin Van Vleck, Silas Williams and Whitney Wilson with special note to Arnie Ames and Neal Ter Hark for lighting and sound effects made the show pull together.
Coming shows in PPT's 2012 season include "To Kill a Mockingbird," June 15-July 1; "Almost Heaven," September 14-30 and "Greetings," November 16-December 2. (815) 239-1210 or www.pecplayhouse.org.


writehagreviewse9z8dnzzSat, 28 Apr 2012 11:01:18 -05000