By Patrick O’Brien Ladies and gentlemen, whether you like it or not, the famously acoustic Theo Ubique has gone electric in the name of Hedwig and the Angry Inch. Up to 11, in fact; they hand out earplugs. Keep your ears open, though, because they give off quite a reviving jolt. Hard to believe Hedwig
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.
Penned by visiting Missourians Ben Auxier, Brian Huther and Seth Macchi, and directed by their cohort Rusty Sneary, this gag-a-second, mile-a-minute romp just goes to show that sometimes, the oldest jokes in the book are still in the book for a reason.
For a theatre company that consistently reinvents itself with every show, this may be BrightSide Theatre’s finest production to date.
Unapologetic, for sure, and that’s just how Music Theater Works artistic director Rudy Hogenmiller likes it and directs it, a gleeful sound in a season-long parting shot before he resigns.
The female-heavy ensemble has a great connection between the members and creates an electric energy in the room from the moment they step onstage. Liz Chidester has a nice supporting turn as a serious, chiding Carrie Nation, and Barbara E. Robertson carries the show on her back as Taylor, bringing a frenetic nature and empathetic approach to the role, despite the lack of assistance provided by the script.