Displaying items by tag: Bob Fosse

Steppenwolf's cozy downstairs theater provided the ideal setting for an evening of outstanding and expressive dance by the highly acclaimed Season 47 Fall Series by Hubbard Street Dance Company.

The performance began with Aszure Barton's “return to patience,” featuring the entire company uniformly dressed in simple, gray and pale blue loose-fitting attire, defying gravity by leaning into space rather than onto each other. The piece masterfully captures a sense of restless animation striving for contemplative serenity, achieving this balance beautifully. (Set to Caroline Shaw’s “Gustave Le Gray,” an adaptation of Chopin’s gentle “Mazurka in A Minor, Op. 17, No. 4”).

The second piece, a solo performance titled “Show Pony” (2018, HSDC premiere 2023), danced by Shota Miyoshi, stands in stark contrast to “return to patience.” Clad in a formfitting, shiny gold Vegas Elvis jumpsuit, Miyoshi's performance is spectacular. He is literally spotlighted with beautiful lighting by Dan Scully that appears and disappears, as he dominates the stage. The term “Show Pony” perfectly encapsulates Miyoshi's confident and explosive dancing.

Lar Lubovitch’s “Prelude to a Kiss” (2005, HSDC 2023) is a romantic delight, danced superbly by Alexandria Best and Elliot Hammans with palpable chemistry. The couple's dance and flirtation are mesmerizing, with Best sometimes hanging from Hammans' arms like an exquisite butterfly. Their duet is mesmerizing and romantic, culminating in a breathtaking moment as Hammans gently removes the shoulder straps from Best's gown, one at a time, and plants a single, masterful kiss on the exposed nape of her neck.

In “Sweet Gwen Suite”, Cyrie Topete, Dominick Brown, and Aaron Choate dazzle in wildly sexy, bedazzled leather and Mexican-style form-fitting pants and bolero jackets, with costumes designed by Bobby Pearce. This number by Bob Fosse and Gwen Verdon exudes sass, flair, and self-confidence. Brown and Choate support lead dancer Cyrie Topete, who shines in what feels like a near-solo performance. Topete makes every gesture count, from smoking and extinguishing her cigarette with a sexy twist of her leather boot toe, to the defiant lift of her chin and single smile at the end, like a victorious matador. The act was set to Herb Alpert & Tijuana Brass’ “Mexican Shuffle,” Lola Schiffrin’s “Cool Hand Luke,’ and “Mexican Breakfast” by Johnny Mandel.

Hubbard Street Dance Chicago in 'BUSK' by Aszure Barton.

Hubbard Street Dance Chicago’s opening night of the company’s Season 47 Fall Series was graced by the presence of Nicole, the daughter of Bob Fosse and Gwen Verdon. HSDC proudly became the first company to collaborate with the Verdon/Fosse Legacy to showcase Fosse's work. As a longtime admirer of Verdon/Fosse-inspired dance, this collaboration brought their iconic style to life in a thrilling and deeply satisfying way.

In the show’s final act, “Busk” by Aszure Barton opens with Elliot Hammans sleeping on the street, transforming into a character reminiscent of Buster Keaton, complete with hat and cane. Hammans' wonderfully expressive face enhances his dance performance, as he is joined by a cast of street people. Their movements range from defiant leaps to huddled masses, pleading for help with outstretched arms, their faces conveying profound sadness, struggle, and desperation. Random vocalizations are also used by the dancers, which really add to the already stunning piece. The entire dance company is involved in what is the perfect finale.

I highly recommend this incredible and passionate selection of dance performances, including the collaboration with the Gwen Verdon Bob Fosse Legacy, for audiences of all ages. The Hubbard Street Dance Chicago dancers are uniquely gifted and each piece so mesmerizing, making it difficult to pick a favorite number. The company’s Season 47 Fall Series, beautifully staged at Steppenwolf’s Downstairs Theatre, was truly a night of dance you and your family and friends will never forget.

For more information on Hubbard Street Dance Chicago’s current and upcoming performances, visit https://www.hubbardstreetdance.com/.  

(*Dancers alternate roles in performaces depending on select dates. This review reflects the dancers performing for the specific performance reviewed.) 

Fun fact. I went into Music Theater Works’ production of Pippin knowing the songs, knowing the show, and knowing I’d have a good time. But afterwards, I learned from my daughter, herself a current member of Scotch’n’Soda Theatre, Carnegie Mellon University’s student theater troupe, that the beloved musical didn’t just appear out of thin air, manufactured by the Broadway gods and bestowed upon us earthly theatergoers.

But Pippin didn’t just appear magically like all the good shows seem to have done. It was originally written by Stephen Schwartz as a student show for Scotch’n’Soda Theatre before its first Broadway run, directed by the great Bob Fosse. Knowing that now, the show’s youthful exuberance and dated innocence makes sense. Of course it was written by a kid, albeit a very talented kid.

Knowing that, the show means that much more—the story of a talented kid figuring out life and yearning for something, written by a kid like that. And knowing that, it’s fitting that my favorite part of this fine production of Pippin, directed by Kyle A. Dougan at the North Shore Center for the Performing Arts, was its young and talented and eager and enthusiastic ensemble. Seriously, the ensemble works (and sings and dances and acts) their tails off.

Choreographed by Mollyanne Nunn and Kaitlyn Pasquinelli, both ensemble members as well, there is always something fascinating going on across the stage; I never knew quite where to look because there was always someone stunning me with a dance move or making me laugh with a random bit of incidental tomfoolery. The scenic design by Shane Cinal and the costumes by Jazmin Aurora Medina only furthered the youthful feel, for me especially, as the themes and color palette and props all screamed 80s and 90s. And said costumes and props were put to good use by the cast, with Ciara Hickey and Jordan Ordonez two standouts, the latter joining Lacey Jack and Sonia Goldberg’s Leading Player for the dance scene in “Glory.”

Goldberg starred last year in Theo Ubique’s Once Upon a Mattress, and again takes center stage in the role of Leading Player, originated by Ben Vereen, leading the production throughout. Goldberg also leads youthful and yearning Pippin through the show’s story, for this production played by Connor Ripperger. Both Ripperger and Goldberg have phenomenal vocal skills, and show them off throughout. Their talents are matched by the rest of the main cast, including a hilarious (and hilariously costumed) Thomas M. Shea as Pippin’s royal father, King Charlemagne, Andrew Freeland as Lewis, Desiree Gonzalez as Catherine, and Di’Aire Wilson as Theo. The two women competing in the king’s life are wonderful; Kathleen Puls Andrade’s Berthe kills “No Time at All” (helped out, of course, by the audience on the choruses) and Savannah Sinclair flashes her dancing skills as Fastrada.

But again, this production is most enjoyable as a whole—because of all the talent onstage, because of all the enthusiasm shown by every single member of the cast, and because of all the hard work that has obviously been put into the show by everyone involved with Music Theater Works. I’d be remiss if I didn’t mention the orchestra, conducted by Justin Akira Kono. Kono leads the strings, horns, and trumpets through the show’s beloved soundtrack, and gives it a real Broadway feel. Because yes, this might be a show about youthful angst, written by a college kid for a college theater, but it’s also a beloved Broadway classic, jam-packed with beloved standards. And from now through June 25, you can see the cast and crew of Music Theater Works give it their all in Pippin at the North Shore Center for the Performing Arts in Skokie.

It’s been quite some time since “Chicago” has actually been performed in Chicago (or thereabouts), but after a ten-year road in obtaining the show’s rights, Drury Lane Theatre in Oakbrook brings home the popular musical created in 1975 – and we are glad they did. With music by John Kander, lyrics by Fred Webb and a book by both Webb and super choreographer Bob Fosse, the musical “Chicago” is based on a 1926 play of the same name. Inspired by actual criminals and crimes reported by reporter Maurine Dallas Watkins, the story revolves around the notion of the “celebrity criminal” while mocking the Chicago justice system that was in place in the 1920’s, an era where it was also widely suspected that an attractive women could not be convicted of a heinous crime, like say, the murder of her lover or husband. 

In “Chicago” the story starts off with a “bang” when Roxie Hart (Kelly Felthous) shoots dead her lover on the side. She is quickly arrested and held in Cook County Jail while awaiting trial for murder. In an age when the press sensationalized homicides committed by women (good ol' media), the public quickly buys into the hype making an instant celebrity out of Roxie, and as starved for stardom as the former dancer has always been, she thrives on the new-found attention. In the “pen” Roxie meets several colorful characters, but none as tough as Velma Kelly (Alena Watters), a socialite divorcee and former cabaret singer who is currently the talk of Chicago for the high-profile murder she committed. Velma barely gives Roxie the time of day, instead giving her the cold shoulder. But when Roxie’s popularity soars as the “new story” and Velma’s diminishes, it’s Velma who wants to partner with Roxie for a song and dance nightclub act, this time receiving the cold shoulder from the new celebrity. 

Roxie’s only way to avoid a sentence of death by hanging is to hire the flashy, fast-talking lawyer, Billy Flynn (Guy Lockard) for five thousand dollars. Well beyond what the couple can afford, Roxie’s doting, naive and “invisible” husband Amos (Justin Brill) scrapes up what he can and promises Flynn to pay the rest when he can. From there, Flynn turns the case into a dog and pony show, equating the trial as a “three-ring circus”.  

Watters stuns on several occasions as sassy Velma Kelly, winning the audience over almost immediately after a dazzling performance of the musical’s opening number “All That Jazz”. Possessing just the right dose of sexy attitude, Kelly impresses both vocally and in her dancing, her performance nothing short of riveting. As notable as Watters’ portrayal of Velma Kelly, Felthous also knocks the ball out of the park as Roxie Hart, pairing perfectly with her fellow caged dame and giving the show a rock ‘em sock ‘em one-two punch. Felthous convinces as one stricken by delusions of grandeur, confusing the popularity of her murder case as celebrity fame, putting forth an overall display of well-tuned comedic timing to go along with her own vocal prowess and dance ability. As fun to watch as the two are, Watters and Felthous really bring it home in their physically-charged routine “Nowadays”. 

He’s charming, good-looking and possesses a silver tongue that can sway even the toughest juries. Well-cast, singer/songwriter Guy Lockard brightly shines as the smooth defense attorney, Billy Flynn, and gives the show yet another boost, particularly in his courtroom maneuvering melody “Razzle Dazzle”. Justin Brill also contributes nicely in his funny depiction of Amos Hart, a man who is considered so undistinguishable by others he aptly refers to himself as “Mister Cellophane” in one of the show’s most humorous numbers. E. Faye Butler’s strong interpretation of Matron Mama Morton is pivotal, Butler crushing it in the number “When You’re Good to Mama”, a jailhouse tutorial for newly imprisoned Roxie Hart. A talented ensemble also brings another strength to the production in their many alluring dance numbers, perhaps most markedly in “Cell Block Tango”, a sultry ode to the woman prisoner during the revolutionary Jazz age.  

This new staging of “Chicago” is colorful and richer than ever thanks to an artistic creative team that includes Kevin Depinet (Scenic Design), Sully Ratke (Costume Design), Lee Fiskness (Lighting Design), Ray Nardelli (Sound Design), Cassy Schillo (Properties Design), Claire Moores (Wig Design) along with Production Stage Manager Larry Baker. 

“Chicago” is an energy-driven musical that is sexy, fun and truly memorable. Filled with a slew outstanding performances, inventive choreography and a set list that is justly contagious, Drury Lane’s “Chicago” is a can’t miss thrill ride. 

The Roaring Twenties are back...in high style. 

“Chicago” is currently being performed at Drury Lane Theatre in Oakbrook through June 18th. For tickets and/or more show information, click here. 

Over 40 years ago, Pippin made its debut on Broadway and now it is back and in Chicago for the next few weeks. Pippin is the story of a young prince on his somewhat Faustian journey to find purpose in life, as told through the mysterious performance troupe lead by the Lead Player as our narrator.  In this touring revival, the performance troupe is set in a circus which brings the magic of the big top to the show.  

Overall, I found the show truly a spectacular, spectacular with the chaotic excitement on stage befitting a Baz Luhrmann film (of which I am also a fan!).  The combination of acrobatics by Gypsy Snider, Fosse style choreography by Chet Walker and stunning costumes designed by Dominque Lemieux all in the circus tent set by Scott Pask creates a production that will be sure to wow everyone in the audience.

The original production was directed and choreographed by Bob Fosse and it was wonderful to still see his stylistic influences throughout this show. Appreciating the difficulty of Fosse choreography, I was impressed with the dancing in the show. It was taken to a whole new level with the choreographic updates and addition of high flying and jaw dropping acrobatics and stunts which you have to see to believe.

This show breaks down the 4^th wall with the actors addressing the audience directly, and calling out the fact that they are in a show. Sasha Allen in the role of the Lead Player was fantastic and her powerful singing gave me chills more than once during the show.  In the role of Pippin, Sam Lips was a star. He was a strong lead with a fantastic voice and personality that drew the audience in. My favorite actor of the show was hands down Adrienne Barbeau as Berthe, Pippin sassy grandmother.  In the song “No Time as All” she will thrill and truly shock and surprise you – a surprise which I will not ruin for those who are heading out to see the show!

The show is funny and thrilling with plenty of good one-liners and jokes that get the audience laughing and (warning parents!) some scenes that get a pretty racy! At the same time, it has a much deeper and darker plot that speaks more to real life than your typical happy go lucky musical.  In an all around well-executed show, the performance troupe takes us on a journey of seeking greatness and meaning in a world where there is no clear path. Through a series of compromises shrouded in doubt and confused all the more by the influence of the Leading Player we watch Pippin settle for ordinary over extraordinary in the end, seemingly happy with his ultimate decision.

I can highly recommend this show as a great breakaway from your traditional Broadway production that will thrill you, give you the chills, and also make you stop and reflect on the challenges of real life.  It is playing at the Cadillac Palace Theater through August 9^th.  Get your tickets before the final curtain falls and the lights are all turned off on Pippin in Chicago!