Review: "Drood" Joliet Drama Guild, Joliet, IL, Ends 8/29/10

Before the review, a few items of business...


1)  Dare I or dare I not?
The question is:  Should I review a show that contains my family members?  I have two members of my immediate family who are in Wheaton Drama's upcoming production of The Drowsy Chaperone.  It seems tricky, and I sense a trap from which I may never escape.  I'd like to hear what the public thinks.


2)  Letters...we get letters...and comments...
In the comments section of the previous posting in which I announced with good intentions that I would post the review this past Saturday, I found the following questions/statements that I would like to acknowledge: 


A) Your seem to have some geographic boundaries to where you will go to to view a show. Possibly you be more specific about your travel limitations.
I don't have travel restrictions, except for that annoying "do not fly" list that holds me up on border crossings.  Perhaps I should drop ShoeBomber from my name.  Anyway, I do take into account travel time when I choose a show to see.  Don't you?  I don't work for a paper or a media organization, so all the expenses of this venture fall on me.  The shows I choose to review are usually ones I'm interested in seeing as a theatre patron.  I know about them because their attempts at public relations were successful in reaching me.  Or I have been invited to come and review the show.  I live in Carol Stream, so that is the hub from which I radiate.  This would explain seeing many shows in St. Charles, Wheaton, Glen Ellyn, Batavia, Geneva, Aurora, and Itasca.  But I have also reviewed shows in Highland Park, Bolingbrook, and 3 different neighborhoods in Chicago.  And now a show in Joliet.  That was a long trip.  But they invited me, and having never seen Drood before, my curiosity was piqued.  I just received an invitation to review The Desk Set at Albright Theatre in Batavia.  I said yes because I'm a fan of the Tracy/Hepburn movie of the same name, and I've never seen it as a stage production.  If you have a specific show you'd like me to review, just let me know and if it's something I want to see, and if it fits in my schedule, I'll try to be there.  I have learned that shows of only 2-weekend runs must stay off my radar for reviewing.  By their nature there is pressure inherent to the process to meet a practical deadline.  It gives me the willies.  


B)  What Saturday are you going to be posting your DROOD review? I would like to read it before I spend $13 on a ticket...
I laughed when I read this because as I realized I was going to miss my self-imposed deadline, I thought, "Well, I never did say which Saturday."  This also gave my ego a boost, knowing that my opinion could actually hold sway over the fate of $13.  Thank you for that power.  The review is below.  (hint...save your cash)


C)  Kind of hard to take you seriously as a reviewer if you don't even post a review when you say you will.
I'm sorry you feel that way.  I had the best intentions of getting the review posted Saturday.  There are days when I don't feel like writing, or thinking about theatre or seeing a show.  And that's OK.  I'm entitled.  We're all entitled.  When it stops being fun, it's time to step back.  When it starts to feel that way all the time, then it's time to close down the blog.  If I start writing a review, or go see a show feeling pressured to do so, I won't be happy with the review or being at that show.  Such was the case this weekend.  My reviews don't go public until I'm happy with them and I think I'm giving you something worthy of your time.  They are my creations...like children, and not many births take place on the projected due date.  Too many damn variables.  If because of that you think less of my critical skills, I'm sorry.  Sadly, I will always disappoint you.  As for you taking me seriously, I don't believe I ever entered into that accord with anyone, or you in particular.  I just post.  It's up to you to decide how it fits into your world  and into your life.


D)  Geez, give the guy a break! Things happen
Thanks Mom.  Love you!


E)   I saw Drood and I liked it. It was the first time I was able to yell at the actors and not worry abouut being asked to leave the theater!  Heck, they encourage people to interact with the actors.  Bill's review may or may not agree, but I thought it was a lot of fun. 
As good a time as any to get into the review.


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The Chairman (Damon Sloan) and
 Edwin Drood (Natalie Gustafson)

The concept of the show is fascinating.  A musical based on Charles Dickens' last (and unfinished) novel, The Mystery of Edwin Drood.  I knew the name but had never seen it, nor had I heard the score.  Written by Rupert Holmes (yes, the guy who sang The Pina Colada song from the late 70s), it is a show within a show.  It is presented as a British music hall pantomime, using the conventions of asking the the audience to participate in helping to choose an ending for the unfinished novel, and having a young female in male drag playing the lead boy (in this case, Edwin Drood).  For more information, follow this link.  I was excited to see this.  Now, after having seen the production presented by Joliet Drama Guild, I'd like even more to see it again, but done much better.


This production had all the minimalist trappings for this style of show and was in a wonderful venue.  And if you buy the concept, you buy the show.  But it is also a musical, and I expected people to be on key and display some panache for dance.  If you are asked to believe it takes place in an English music hall, you should expect a certain quality to the "musical" aspect of the show.  Unfortunately, this was not the case.


Eric Sipe played the "villain," John Jasper, the choirmaster (who had a hard time finding his notes).  He played everything with rage.  He sang with rage.  He shouted with rage.  He walked with rage.  Everything was loud rage, with no nuance or levels.  He had nowhere to go with the character, and he really tried too hard.  It was a conscious character choice, and it was off-putting.  Vocally, he wandered all over the map, and I didn't enjoy his performance.  I endured it.


He is smitten with one of his students who is engaged to his nephew Drood.  Her name is Rosa Bud, and she is presented by Annie Roach.  Her performance was lackluster and dull, and made it difficult for me to feel anything for her character. She also had trouble finding or staying on key, and as the soprano, she fought valiantly to reach the higher notes.  And, as an audience member, we could hear every punch landed as she fought her way to the top.  She had a body microphone that amplified everything with distortion, making it harsh and hard to listen to.  When she spoke, she was also amplified and seemed other-worldly.  She and Jasper had a couple of duets.  I endured them.  As for the rest of the cast, except for two others, there was nothing memorable.  The show music is a bit like  Sondheim, so I wasn't sure if the dissonance was as written or due to poorly executed harmonies.  I have since listened to a few of the songs off the original cast recording.  Unfortunately, it was the execution.


The two actors who stood-out for me were Damon Sloan as The Chairman and Natalie Gustafson as Edwin Drood.  Sloan captured the essence of an emcee.  He developed great rapport with the audience.  He was spontaneous, charming, amusing, and delightfully silly when he was forced into playing auxiliary characters.  He has a wonderful stage presence and I hope to see him in other productions.


Natalie Gustafson found the marrow of the lead boy concept.  Her attitude and manner were perfect for Edwin Drood.  He/she was fun to watch, seemed invested in her character, and had a nice singing voice.  Of particular note is the song, "A Private Investigation."  Her voice was clear and filled the room without amplification.  It was a highlight.  She had a few moments struggling with harmonies in other songs, but that appeared to be a problem with her partners.  She is also someone I look forward to seeing in other works.  My only suggestion is that she work on hugging more like a man.  Her embraces with Rosa seemed dainty...a little too kiss-kiss, hug-hug.


As a music hall/musical, this production failed on the dance front.  There was nothing exciting.  All the moves were simple, and simple was not done well.  The band was OK, but very loud in that venue.  Music cues were sloppy, and someone should teach the actors and the band how to talk-up a song over a long intro.  I find it disturbing to watch an actor wait for his/her entrance into a song.


I will say that I enjoyed the "gimmick" of booing and hissing at the villain and cheering on the heroes.  The voting for the ending was fun.  I just wish the whole show had been better.


In the interest in full disclosure, I did receive a complimentary ticket to see the show.  I didn't realize that's what it was until I arrived at the theatre.  I have felt uneasy about it, since I won't take comps for shows I'm planning on reviewing, and I should have paid right then.  It violates one of the core concepts of the blog, and I really feel I did myself a disservice.  All last week, I could hear the heart beating beneath the floorboards.  An invite to see a show with a comp ticket so I can have a second look after the review is published is OK, as I did when I saw Tommy again.  It gave me an opportunity to talk with the director and discuss some of what he went through.  I'm doing it this weekend for the closing of Equus.  The director has invited me back to see the show and have an opportunity to speak with him  Hey, why not?  The upshot is this:  I have mailed $11 to Joliet Drama League (they have a 55+ senior rate) earlier today before I posted this review.  Then I can answer my signature question with honesty:  Is it worth the price of admission?  No, I don't think so.


Run time:  2 hours, 52 minutes, with intermission.


For tickets and times and more information, go here.

Review: "My Fair Lady" Overshadowed Productions, Itasca, IL Ends 8/7/10

I grew up listening to the music from this show.  I lived in Oak Park and I listened to the album every day. I could talk/sing all the Rex Harrison stuff while strutting around the living room acting the arrogant peacock that is Higgins.  I was around 8-years old.  This was a time when albums were vinyl and played on Stereo High Fidelity entertainment systems that looked like credenzas or breakfronts.  When I was done with this, I'd put on Sing-A-Long with Mitch Miller, who died this week at the age of 99.  So, this show holds a special little place in my heart.  I will look upon it fondly...unless it's done poorly.


Last week, I had the opportunity to see a production of My Fair Lady at Overshadowed Productions in Itasca.  They are a faith-based theatre group that is all-inclusive (they let me in, didn't they?) and genuinely concerned about catering to their audience.  Not a big name in community theatre, but one that left a favorable impression on me (and I qualified for their 55+ senior discount - I'm officially elderly...woo-hoo!!)  If you'd like more information about this theatre, including show times, etc., click here.  If you need more information about the story of My Fair Lady - uh...really?  Try Goggle or Bing.  You may find a reference or two.


Worth the price of admission?  Yes.  Great production?  No, not great.  But a great effort.  No one gave up, and everybody worked the moments.  They made choices and stuck with them and enjoyed what they were doing, which is very contagious to an audience.  As I watched the large ensemble during "Get Me To The Church On Time" crowded onto a small stage going through a regimen of clapping, out of place square dancing, pot clanging, mug slamming and Stomp-like movements with anachronistic garbage can lids, I just smiled.  It wan't great, but it was fun.  It was overkill having that many people on the stage and overwrought being so loud, but somehow it became part of the charm.  It looked crowded, but that never detracted from getting the job done.  The production was unpretentious, which I find a blessing.  All too often, productions take themselves much too seriously (We're doing art, dammit!)


Matt Hallstein does a masterful job as Henry Higgins.  He brings his own style to the character while maintaining just the right amount of Rex Harrison mannerisms that we come to expect of a Higgins.  He commands the stage and your attention.  I was less enthused with Becky Weise as Eliza Doolittle.  She did OK, nothing disturbing.  However, I found her vocally weak as she struggled through sections of songs in her upper register.  She has the tools, but they suffer from a lack of honing.  More breath control and training should rectify it.  She also tried so hard with her guttersnipe (love that word) accent that she disconnected from the meaning of the text a few times and it felt forced.


Jerry Berger as Pickering started slow and weak, but got stronger.  His "dash" readings at the beginning of Act II were delightful.  Brad Holloman put a lot of effort and energy into his performance of Alfred Doolittle.  Unfortunately, it wasn't focused and was all over the place (as well as over the top).  It lacked the restraint needed to keep it human, and much of what he did became artifice.


The rest of the cast fell somewhere between acceptable and great, and the overall presentation was delightful.  The harmonies in the smaller ensemble numbers were some of the best I've heard.  The quartet of pub enthusiasts and the group of servants were particularly good.  I thought the direction was focused, and was impressed with the use of walking sticks/velvet ropes during the Ascot scene.  It was clever.


The biggest disappointment for me was the band.  They started off-key and off-tempo and didn't recover very often.  It was always a surprise what you were going to get when they started up.  Generally, I like surprises.  Not so much this time.


So, get a ticket if you can.  It's not great, but it's fun.  Everyone is trying hard and you feel the genuine love of performance.


Paid:  $12  (because I'm old)


Run time:  2hrs 20 minutes, with intermission.