Eat your heart on Broadway!
That admiration may be the best way to sing praise Knockout work “Kiss Me, Kate” at the Marriott Theater.
The rarely revived 1948 musical gem boasts a great score by Cole Porter for nearly 20 knockout songs, almost all classic. It’s a wonderfully clever drama book by Sam and Bella Spewak, who is deeply grateful to the man named William Shakespeare. Yes, the playwright remains surprisingly timely in the late 16th-century comedy “The Taming of the Shrew,” with a roaring portrayal of the war between men and women.
But first, a note about the equally eerie elements that appear in the form of the musical’s opening number, “Another Op’nin, Another Show.” The song captures the enthusiastic excitement of the cast and crew to open a pre-Broadway tryout in Baltimore. The theater is reopening and the actors can finally get back to work, so for now it can’t be any more custom made.
It happens that the show that is about to debut out of town in this story is the musical version of “The Taming of the Shrew,” whose cast engages in as many real-life sexual fireworks as the characters in. The musical that is about to open.
The protagonists are Susan Moniz, who plays Lily Vanesse, a Hollywood star who has returned to the stage as Catherine (“Togarinezumi”), and Fred Graham (Larry Adams)’s ex-wife in “Real Life.” A musical ego producer / director who is also an actor. Fred starred on the other side of Lili in a musical, playing the role of Petruchio, who decided to “make it a wealthy wife in Padua,” even though the female Catherine facing her was fiercely opposed to marriage. I am. Meanwhile, at the behest of her father, Catherine’s sister, Bianca, is not allowed to tie a knot until her sly brother submits to Petruchio.
Playing Bianca is a skilled man magnet named Lois Lane (Alexandra Parkovich), who became an actress from a sexy little nightclub singer. Parkovich nails the character with only playful and provocative movements. Lois is dating Hoofer (and the obsessive gambler) Bill Calhorn (deftwork by Daniel May). But even though Graham and Lili still have a strong love-hate charm with each other, Royce is being pursued by Graham.
Much more is happening in the behind-the-scenes life of this musical. However, the experienced actress Johanna Mackenzie Miller, who made her dynamite debut as the director of this epic musical, remains loyal to Shakespeare’s plays. Very energetic, ambitious and self-owned, you can get the feeling they can give as they get.
But enough sexual politics. Miller cast the show with a group of such amazing performers, so the spotlight is more often just their talent.
A petite figure with a coloratura soprano and a matching acting chop, Moniz is absolutely dazzling like Lili / Kate. Just listen to her expression of “I Hate Men” and the contract will be concluded. She is wonderful And Adams is sensational as a self-important Fred in the best possible way with his illustrious baritone voice. He captures both the nerves of the producer trying to keep him from getting caught up in fraud and the hunger of middle-aged men who are still hunting. In this case, Royce took the picture. Parkovich, who knows how to send a signal through body language, easily grabbed Fred’s attention. Then she nails the song “Always True to You in My Fashion” and explains her way to Bill, a boyfriend who is a company dancer who dances storms and expresses her best.
The work of choreographer Alex Sanchez. Recent credits include “Paradise Square, ”Is sublime in every scene, as well as the extraordinary ensemble of show dancers.
Fix the giant star to the door of the dressing room of Jonathan Butler Dupresis, who plays Paul, the dresser of Graham. Not only does he set the stage for the show’s opening number with Lili’s dresser Hatty (Golden Voice Allison Blackwell), but he later beats the house with his knockout performance “Too Darn Hot”. Dancers Kevin Nietzel, Adam Rogers, and Trevor Vandersey also add a staggering element to the dance sequence.
When it comes to the comic engine that heats up the show, there’s a pair of gangsters who are devoted to showbiz-ideally played by Lillian Castillo and Siakovman. A large number of them are “Brush Up Shakespeare”. Iris Lieberman makes a great cameo appearance as the show’s stage manager. And Terry Hamilton gives a perfect portrayal of Harrison Howell, an army general who plans to marry Lili.
Theresaham’s costumes ideally capture the personality of every character in the show, whether it’s a 1940s street style or a theater outfit. Beautifully illuminated by Jesse Crag, Scott Davis’s set leaves plenty of room for dancers. And, as always, the orchestra led by Marriott’s veteran conductor / keyboard player Patty Garwood is perfect.
And what about Cole Porter, born in Indiana, sophisticated with a genius of evil wit, wordplay and fascinating melodies? Some might think of him as the equivalent of Shakespeare in an American musical theater. Just listening to songs such as “Why Can’t You Behave?”, “So in Love”, and “Where Is the Life That Late I Led” may start to hear the rhythm of the bard’s Iambic pentameter.
“Kiss Me Kate” will continue until January 16, 2022.
For tickets, MarriottTheatre.com Or call (847) 634-0200
Details of this story
In Marriott’s popular Artist Lounge Live Series, Chicago’s two popular Angeline Garsol and Heidi Ketten Ring shows will be held at a solo holiday concert.
Ingersol’s “12 Dams for Christmas” (7:30 pm on December 6th and 1:00 pm on December 7th) will feature songs from 12 diva, from Judy Garland to Julie Andrews and Janis Joplin.
Heidi Ketteling’s show “Merry Christmas Darling” In honor of Karen Carpenter (7:30 pm on December 13th and 1:00 pm on December 14th).
Frankie Valli and Four C Note, a tribute group to Four Seasons, will perform on New Year’s Eve (6 pm and 9 pm on December 31st).
“Million Dollar Quartet” Marriott Productions Nat Zegley will replay his concert.From Mozart to Pop ChartIncludes the best moments of music from Mozart’s time to Jerry Lee Lewis at 8 pm on January 21st. January 22, 1:00 pm
Follow Hedy Weiss on Twitter: @HedyWeissCritic
Broadway-Cole Porter’s “Kiss Me, Kate” Worth Rendering At Marriott | Chicago News
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