Displaying items by tag: Rachel Carreras

Following its recent winter production of Sister Act, Drury Lane Theatre returns to the convent with Nunsense, a light-hearted musical comedy which, as the title implies, is a lot of nonsense.

The premise is funny, albeit morbid. After an unfortunate mishap, 52 members of the Little Sisters of Hoboken die from tainted soup prepared by Sister Julia, Child of God. With limited resources, the surviving nuns can only cover the funeral expenses of some of their sisters - leaving the remaining four bodies in their convent freezer, awaiting burial. How can they solve this problem? Well, stage a variety show, obviously! After all, while these women are nuns, they all wanted a moment in the spotlight.

E. Faye Butler, who also directed Sister Act, returns to stage Nunsense and injects the same optimism into this show. Unfortunately, it lacks the same substance, failing to elevate its premise beyond the initial idea.

The origin of Nunsense seems to explain its structural weakness. In the early 1980s, playwright Dan Goggin created a line of tongue-in-cheek greeting cards featuring a nun offering witty, irreverent quips. The cards were a hit, and Goggin used them as a jumping-off point for a cabaret show, which was later expanded into a full-length musical.

Unfortunately, the script doesn’t have much narrative depth or structural momentum. It seems to wander through quips and gags, trying to find a laugh rather than developing character or plot. At one point, we learn that a health inspector will fine them if they can’t raise the money by tomorrow, but it doesn’t land as a serious threat or even a driving force for the remainder of the show. The problem even has a quick resolution when Sister Mary Amnesia remembers her identity and discovers she’s suddenly rich thanks to a contest - talk about a deus ex machina (mary-ina, if you will).

Rachel Carreras in Drury Lane THeatre's Nunsense. Photos by Caitlin Dennis.

The book’s weaknesses are unfortunate because the cast is genuinely strong. Every member brings spectacular vocals to the stage, effortlessly belting out musical numbers and sounding excellent throughout.

Sharriese Hamilton delivers a standout performance as Sister Hubert. Her sassy comebacks and vocal riffs are hilarious, especially her trill in their rap. Her big second-act number, "Holier Than Thou," takes the audience to church and gives the show a much-needed jolt of energy. Cory Goodrich, Rachel Carreras, Kelly Felthous, and Aurora Boe also do well in their solo moments, whether it’s physical comedy, playing with a puppet, or ballet. Felthous gets to shine with her audience work and banter, and it is fun to see the cast do callbacks to specific interactions, such as flirting with or chiding audience members.

The show succeeds best when it moves quickly. Without much plot, gags can get tired easily. For instance, the Reverend Mother accidentally inhales a drug found in the girls’ locker room and goes to pieces. The sequence goes on a few beats too long. Transitions also could be tightened so the show doesn’t lose steam between numbers.

Nunsense is a fun idea, but the script fails to execute it satisfyingly. It’s also unclear who the intended audience is; the PG‑13 tone might make it a slightly tougher fit for families, even though they’d otherwise be a natural demographic.

While each performer gets a well-deserved moment to shine, it is a shame that such a talented cast doesn't have better material to serve either their collective skills or a meaningful story. Drury Lane's Nunsense has its moments, but it never quite reaches divine heights.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Brightside Theatre's latest production, Jekyll And Hyde In Concert is a truly mesmerizing experience. And if you are a Chicago resident like myself, this theatrical performance is well worth the not-so-long trek to the burbs. The musicians and the impressive array of talented singers delivered a performance that seized my attention from the very start and held me spellbound throughout. With cozy table seating on the floor and traditional theater seating in the rear, there isn't a bad spot in the house. The acoustics are superb, and the singers frequently stroll through the audience, creating an immersive and intimate experience.

Jekyll and Hyde In Concert rejuvenates the eerie narrative of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. This musical retelling masterfully brings the enthralling story to life on stage, showcasing the complexity of human nature through riveting songs and dynamic performances. The plot centers on the esteemed Dr. Henry Jekyll, whose attempt to distinguish the good from the evil within himself results in the birth of the malevolent Edward Hyde. As Hyde's horrifying deeds escalate uncontrollably, Jekyll battles with the monster he has unleashed, culminating in a heart-wrenching and inevitable end. The concert format accentuates the stirring score, featuring unforgettable pieces that illuminate the internal and external struggles of the characters. With its powerful melodies and expressive lyrics, the audience is drawn into the mesmerizing and dark world of Jekyll and Hyde, promising an unforgettable theatrical journey.

Picture a theater abuzz with excitement as the audience prepares for an "on book" concert performance of Jekyll And Hyde. The performers, each clutching their scripts and scores, take their places at music stands arranged across the stage. Behind them, a full orchestra sits poised, instruments at the ready. Magical.

As the orchestra dives into the stirring opening notes, the performers join in, bringing to life characters such as Dr. Henry Jekyll, Lucy Harris, Emma Carew, and Sir Danvers Carew with their powerful vocals and deep emotion. The "on book" format adds an intimate, unpolished charm to the performance, allowing the audience to focus on the music and the performers' interpretations. Throughout the concert, the orchestra's lush harmonies and soaring crescendos amplify the drama and intensity of the story, creating a gripping and immersive experience. This fusion of live orchestration and on-book singing offers a distinct and unforgettable rendition of the cherished musical.

Gerald Kelel masterfully leads this concert, seamlessly transitioning between the roles of Dr. Henry Jekyll and Edward Hyde, executing each note with precision and authority. Rachel Carreras as Lucy Harris and Julie Ann Kornak as Emma Carew also deliver standout performances, showcasing their impressive vocal range. Veteran stage actor Stan Austin shines as Sir Danvers Carew, bringing intensity and robust vocals to the role. While the entire cast is brimming with talent, both Molly Bremer and Sean Rhead each have their moments to highlight their remarkable vocal prowess. This is just a brilliant piece of theatre in concert form that was such a pleasure to watch.

This particular performance of Jekyll And Hyde In Concert is a highlight of Brightside Theatre’s Concert Series, following the company’s spectacular run of Dracula. Artistic Director Jeffrey Cass has skillfully curated the upcoming season, featuring Beetlejuice Jr., Pippin, and A Midsummer Night’s Dream, promising an exhilarating 2025.

Brightside Theatre, nestled in the heart of Naperville's historic downtown district, is a professional non-profit theatre company dedicated to enlightening, educating, and entertaining audiences. Established in 2011, it holds the distinction of being the only professional non-profit theatre in Naperville. Brightside Theatre's diverse offerings include comedies, inspirational stories from around the globe, mainstage productions, a musical theatre concert series, and a free Summer in the Parks Series. They also provide educational programs and summer camps for young performers. Recognized with multiple awards, Brightside Theatre has been named the Best Entertainment Venue by Naperville Magazine for five consecutive years.

RECOMMENDED!

Jekyll And Hyde In Concert

About: Conceived for the stage by Frank Wildhorn and Steve Cuden

Music by Frank Wildhorn, Book and Lyrics by Leslie Bricusse

Directed by De Haddad

Musical Direction by Phil Videckis

2 hours 15 minutes including intermission

Where: Madden Theatre, North Central College, 171 Chicago Avenue, Naperville, IL

When: Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm from January 17 through 26, 2025.

Tickets: $37 for Adults and $32 for Seniors and Students

Show and Theatre Information: http://www.brightsidetheatre.com/ 

Coming-of-age is a subject with universal appeal across the arts.  Playwright Jonathan Keebler makes it fun by putting it to music composed by Ryan Korell in GAY CARD, playing at Pride Arts Center through September 24.

Logan (Ben Ballmer) is saying goodbye to the horrors of high school and is totally stoked to celebrate his college enrollment by coming out in a big way. To this end, he chooses the dorm called ‘Diversity House’. His best friend Melanie (Sophie Murk) does the same, as they’ve always been ‘there for each other’.

Logan quickly learns that it’s not that simple; there are many prerequisites to being issued a GAY CARD. In her role as Logan’s adjuvant braniac, Melanie steers him towards GayCardBlog-dot-com, where Logan is told he must decide what kind of gay boy he’ll be. His outrageous ventures into what he considers ‘Twink’ and ‘Artsy Gay’ (among others) are celebrated in song and dance.

At Diversity House Logan and Melanie find the voraciously heterosexual house mother Danielle (Rachel Carreras) and recovering jock Justin (Nathaniel Thomas). Corey (Joey Alvey) and July (Maya Radjenovich) present themselves as blissfully bi, while Graham (Freddy Mauricio) is somewhat mysterious – which naturally makes him alluring.

The GayCardBlog is brought to dramatic life by the Blog Trio – Michael Idalski, Adelina Marinello, and Elijah Warfield – who personate Logan’s pilgrimage with lascivious lyrics and appalling apparel – well done, Costume Designer Shawn Quinlan!  Ensemble numbers are completed by Kyle Johnson and Dance Captain Haven Sydney Denson.

Did someone say dance? Choreographer Britta Schlict gives us one spectacle after another, assisted by Jordan Ratliff, who is also Assistant Director under Pride Arts’ Artistic Director Jay Espaῆo. Espaῆo, Sound Designer Valerio Torretta Gardner and Music Director Robert Ollis navigate every number to near-balletic synchrony, even the full-ensemble extravaganzas. Sound Engineer Kat Tilt and Lighting Designer Kyle Anderson weave the story across the stage, with illustrative assistance from Projections Designer Eme Ospina-López. The few props are well-managed by Props Designer Hannah Dains. A large cast and near-continuous action present a challenge deftly met by Stage Manager Dakota Allen, assisted by Reagan Stevenson.  No nudity (rats!) but Intimacy Director Garrett McCann has some kissing to choreograph. And I loved the brilliant set created by Scenic Designer Brett Baleski, with its multiple levels painted in Miro-esque asymmetrical blocks.

Performances overall were outstanding. Ben Ballmer as Logan was in perpetual motion – supple, vivacious, and indefatigable – I’ve no idea how he kept that going! I’d swear his jumps soared a full yard off the floor – Air Ballmer! But, though his dancing was spectacular, it’s his sensational voice that really blew me away. Singing solo, duet, or choral; accompanied or a capella, his voice carried the show, strong and clear and true.

Actually, every voice in the cast was excellent. Sophie Murk’s [Melanie] superb soprano was exceeded only by her fortitude: during her most crucial solo her microphone repeatedly broke off, cut back in for a couple of measures, then failed again – a performer’s nightmare! Losing your mike is dreadful, but having it randomly cut in and out is calamitous! I’m sure Ms Murk had plenty to say about it backstage, but in front of the audience she was totally unflappable. The ovation she received was only partially (though deservedly!) for her singing; a significant portion was an accolade to her sang-froid.

Freddy Mauricio [Graham] also had a splendid voice, but it was eclipsed by Ballmer’s far stronger one, which also sometimes shrouded Murk’s performances.  It can be a real dilemma, from casting through rehearsal and into performances: how to manage the disparities in the cast’s endowments. It is, of course, the sort of predicament directors long for, but that doesn’t necessarily make disentangling it easier.

Live theatre, even in the biggest houses, was decimated by covid, and there’s much speculation about how to revive it. Theatre, particularly my beloved tiny storefront houses packed with sensational talent, is a Chicago hallmark. A couple of seasons at Second City is virtually a prerequisite to joining the cast of Saturday Night Live!  Everybody knows about Gary Sinise, but dozens more actors have been launched to fame from the Chicago stages. It’s imperative we maintain that heritage.

Trivia break: many think Chicago’s nickname of Second City is because its live theatre is second [only!] to NYC. Actually, the name is a legacy of the great Chicago Fire – we now live in the Second City that rose like a phoenix from its own ashes. Now where was I? Ah yes – how to help a Second Stage arise from the wreckage left by covid.

Debates rage: lower ticket prices to entice audiences, or raise them to pay artists a living wage? Present thoughtful, cutting-edge plays exploring society’s most pressing issues, or fill the stages with absurdity to provide escape from said issues? The Chicago Tribune has been running a series of op-eds on the subject, speculating on how best to support theatre.  Well, I’m a simple sort o’gal, and to me the solution is simple: attend more theatre!

GAY CARD has no deep social significance; it explores no critical current issues and poses no intellectual challenges. But if you’re in the mood for a very well-performed bit of musical fluff, see GAY CARD!

GAY CARD is being performed at Pride Arts Center through September 24^th. For tickets and/or more show information click here.