By Patrick O’Brien Revues may not be plotted like musicals, but the best ones order their songbooks in such a way that the chain of emotions becomes the plot. Tonal variety, then, becomes key. And when crafting a revue based on Jacques Brel, for whom connoisseurs would have a million words in a million languages
The musical theatre reviews featured here are written by reviewers, not critics. These impressions and opinions are from individuals passionate about musical theatre and represent, in most cases, one observation of one performance. The primary purpose in publishing reviews is to help patrons decide whether a production is a good use of their time and entertainment budget. Our reviewers are also encouraged to creatively shine a light on particularly good work done onstage and backstage, understanding that successful productions happen because of the work of many. Finally, ChicagolandMusicalTheatre's reviewers are asked to walk into a show expecting enjoyable entertainment—because that's the mindset of patrons who buy tickets to professional theatre.
The prose, the cetology and the endless descriptions of the sea in this epic are masterfully liquidated into three acts that command attention.
With a voice as beautiful and warm as summertime in Chicago and emotional depths that squeeze the heart, Kelly takes this character into uncharted territory.
In its current run at the 239-seat auditorium at the Meiley-Swallow Hall, a minimalist cityscape adorns the back of the thrust-style stage, and many effects in the show effectively pull from Gobo and other lighting effects.
And when it glitters, be as gay as you want. This cast certainly does. Ben Barker and Cecilia Iole, respectively as the naive lovers Candide and Cunegonde, are dunderheaded and easily tossed about, but charming and sympathetic, and sing sing sing so well.