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(02/16/04 5:57am)
Seussical The Musical" broke the mold in its debut at the IU Auditorium this weekend. Though "family show" is a term that generally brings to mind sappy stories, screaming brats and unrefined musical scores, the show based on the works of Dr. Seuss entertained children of all ages. From the rhyming request for patrons to turn off their cell phones, to the green eggs and ham finale, "Seussical" had a level of energy and humor that made it stand out from its genre. The opening number assured that "this ain't Mother Goose," and indeed it wasn't. It maintained its childhood sense of wonder without being childish, as it whirled through the tales of Horton the Elephant, the town of Whoville and Gertrude McFuzz. Along the way, the audience was introduced to a soulful Sour Kangaroo, played by LaDonna Burns, a sassy Mayzie LaBird, played by Dawn Lebrecht, a deranged warmonger, played by Phil Olejack and other talented, endearing characters. \nThough the play was not based upon a single book, it maintained the unique style and character designs of the original author, Theodore "Dr. Seuss" Geisel. Children were treated to outlandish locales, while adults were offered socio-political commentary. As promised, the story had something for everybody. Horton's refrain of "a person's a person no matter how small" was an empowering message for children, while the representations of media circuses and mob mentality ("someone's thinking different from us!") held appeal for their parents. \nThe Cat in the Hat was the glue holding the generations together in their positive responses. Both naughty and nice, he thoroughly amused everyone. The Cat's physical antics had children in stitches, but it was his pop culture references to Mike Meyers' "Saturday Night Live" character Linda Richman and the "Can you hear me now?" guy that had adults rolling in the aisles. A few times, he even turned on the house lights to play with the audience -- one moment scolding whoever left their cell phone on (turns out it was him) and then asking the lady in the 10th row for a date.\nIn the end, the show received a well-deserved standing ovation. Unlike many "family shows," it delivered on its promise to provide entertainment for adults and children alike. The costumes were outrageously creative, and the music was a pleasing mixture of Latin beats, gospel, jazz and pop. Though the lighting was a bit heavy-handed at times, for the most part it was used to effectively illuminate the stage. Black light was used to illuminate special gloves and props to make up the bodies of the creatures "the Hunches." As promised by IU alumni John Armstrong, Charlie Mechling and Steve Morgan, the show also delivered an IU cheer that brought the house down.
(02/13/04 4:52am)
Every year, many students in the IU Theater and Drama and Music departments journey to New York in the hopes they'll make it big on the stage. The competition is stiff, and the odds are tremendous. But now and then, things fall into place for a few lucky individuals. \nAnyone who doesn't believe it just has to ask Steve Morgan, John R. Armstrong and Charlie Mechling. The three met as students at IU and since then, they've kept in touch with one another through auditions, traveling, big breaks and let downs.\nThis weekend, they'll return to Bloomington together as cast members in "Seussical The Musical." The show is based on the works of Dr. Seuss -- Theodore Seuss Geisel -- and focuses mainly on "Horton Hears a Hoo", "Gertrude McFuzz"and "The Cat In The Hat". Mechling, Armstrong and Morgan play the trouble-making trio, the Wickersham Brothers. Though they deny causing any trouble offstage, they make this statement with an audible wink in their voices. The singers have worked together on previous sets. They attribute past experiences together to the ease with which they blend their talents. \n"We auditioned at different times, but we ended up together. It's a pretty rare occasion to be cast as a trio with people you know," Armstrong said. "It's very comfortable being on stage among friends. Whatever we do, it's going to work out because we're on the same wavelength." \nThough Morgan and Mechling graduated in the class of 1999 and Armstrong graduated in the class of 2002, they have kept in touch. The three performers have been roommates and co-workers, and though life has taken them in different directions, they keep tabs with each other. The men have strong ties to IU and Bloomington that keep them coming back. \n"We can't get away from it and wouldn't want to," Mechling said. "It's an awfully small world ... our paths will cross again." \nThe actors have received a great deal of support from the cast and directors and feel fortunate that they have granted them the freedom to develop their roles. \n"It's the comfort level. We're never afraid to try something new," Mechling said. "With our rapport, it allows us to really grow." \nThe Wickersham Brothers are very active characters, and the trio often has to rise to the challenge. \n"We have some of the most physically demanding roles, especially energy wise." Mechling said. "We're constantly jumping around ... there's a lot of athleticism."\nThe "Seussical" performance is the first tour for Morgan and Armstrong, and they have learned a lot The biggest challenge has been keeping the play fresh after so many performances and keeping it away from what Armstrong calls "the dark side," where it becomes stale and lifeless. \n"We rehearse for two weeks and perform for six months," Mechling said. "It's hard to keep your mind active and to grow in your role." \nThe show travels the country with two tractor-trailers, millions of dollars of equipment and the original costumes from the Broadway production. The most exciting part for the actors, though, is bringing it all to audiences. \n"We're getting paid to do what we love, to have fun, sing and dance," Morgan said. "It's the most rewarding thing on earth."\nThough Dr. Seuss usually appeals to children, the three actors feel it can be appreciated by all ages. \n"It's not just a kids show ... it applies to all ages. Dr. Seuss really talked about a lot of issues ... There are lessons for everyone," Armstrong said. "You take away something you can apply to your life."\nThe performers said they are looking forward to coming back and being in the IU Auditorium. In honor of the occasion, they say they will incorporate a small IU cheer into the show: "We'll find a way."\n-- Contact staff writer Meredith Hahn at mshahn@indiana.edu.
(01/22/04 4:37am)
When seeing a musical performance upon which a popular film has been based, it is difficult to put aside one's expectations in order to remain objective. This was certainly the case at the IU Auditorium last night for "The Sound of Music". Like most people who have seen the movie on television or video many times over the years, I found it difficult to imagine anyone other than Julie Andrews in the role of the singing governess, Maria. As the night went on, however, it became easier to see clearly what worked and what did not in this show.\nThe play opened to a sparsely-filled house. This lukewarm reception was in some ways indicative of what was to come. Sound difficulties, an accompaniment that occasionally lacked in vibrancy, and sets which wore out after the first act awaited the patient, but less than enthused audience. Most disappointing was Lindsay Northen's "Maria". Julie Andrews aside, this role was completely miscast. Though Northen was very endearing and talented, her brassy voice and impish appearance would have been better suited to the lead roles of "Annie" or perhaps "Once Upon a Mattress". She had energy, but it was unfocused and awkward, much like a child in a recital. Her voice had power without poise, something that could have been forgiven for the nature of her character if her delivery hadn't been quite so flat and unpolished.\nTo say that the show wasn't good would be too far a stretch, however. There were many points worth mentioning which will ease the minds of season ticket holders and encourage tardy purchasers. Jim Ballard's Captain von Trapp, for example, was exemplary. His stage presence was formidable, and the resonance and richness of his voice was well worth waiting until scene seven of Act I. The grace with which he allowed his character's emotional defenses to be broken and music to return to his heart was especially moving. The audience as a whole seemed to agree as the scene ended and the house erupted in applause.\nLikewise, the supporting cast was worth the cold journey to the auditorium. Most notable was the ensemble of nuns which appeared regularly in the show. Their harmonies can only be described as heavenly. Their tone, articulation and balance were all near perfection. Sister Margaretta (Brooke Buice) was darling, and the Mother Abbess (Joanna Hill) performed her part with professional eloquence despite what seemed to be a terribly irritating cough which constantly threatened to silence her operatic voice.\nFor those who are partial to the movie version of this classic story, it should be noted that there are at least a few songs to which theater-goers were treated that cinema-lovers may never have heard. This alone made the show stand out. Don't take the word of this reviewer, though. There's still time to see it for yourself. It's family-friendly so even children with no familiarity with the show will be entertained. Despite its shortcomings, it makes for an enjoyable evening, and if nothing else, how often does one get to hear a nun yodel?
(01/20/04 4:42am)
Unlike many children who vaguely ponder what their future holds, Christina Jackson, 12, already has a head start on her future. \nJackson went from being a typical seventh-grader in Cincinnati, taking music lessons and performing in children's theater, to acting in a national touring show, "The Sound of Music."\nJackson plays Brigetta, the third youngest daughter in the von Trapp family from the musical, which visits the IU Auditorium Jan. 20 through Jan. 22.\nAfter a whirlwind audition in New York, when Jackson and her family discovered an acquaintance was a casting director, Jackson had four days to say goodbye to her friends, get out of her local theater engagements and pack her bags before joining the cast for rehearsals.\nSet in Salzburg, Austria during the late 1930s, the musical is based on the true story of Maria Rainer. After proving herself too high-spirited for the religious life, she is dispatched to serve as governess for the seven children of the widowed naval Captain von Trapp. Over time, the von Trapps come to love Maria and she marries the captain and becomes mother to his children. Upon returning from their honeymoon they discover the Nazis have invaded Austria and have demanded the Captain's immediate service in their navy. The show follows the family as they come together and try to find a way to escape the Nazis. \nFamily ties are not simply important on stage, however. Behind the scenes, Jackson's mother tours with her around the country. \nHer mother helps her keep up with her classmates back home with one-on-one lessons in between rehearsals, performances and long bus trips.\n"It's fun (going on tour with my mom) and she helps me stay organized," Jackson said. "I think we've become great friends over this."\nDespite the support she receives from her parents, touring is not always easy. \n"Living off of two suitcases is (the hardest thing)," Jackson said. "And it's hard to be away from home for so long."\nBut she is never alone -- and even though she leaves behind her brother and her friends, she has made many friends through the show.\n"It's really fun to be with so many people and we're all like friends," Jackson said. "We're around each other every hour of every day, but most of the time we get along great." \nHer perception is shared by company manager Walter Milani. \n"(The cast) is great. We call it the "Brady Bunch" cast because they are all so clean cut," Milani said. "I've done a lot of shows and this one is a pleasure. The warmth felt by the cast and crew may be due to the nature of this story which is a family tradition to many."\nThe original production of "The Sound of Music" premiered in 1959. The production won seven Tony Awards, including Best Musical, and ran for 1,443 performances. In 1965, a film version was released, earning five Academy Awards, including Best Picture. \n"It brings back memories from my childhood. I think it was the first musical I ever saw and I remember enjoying it," Milani said. "It made quite an impression on me."\nCheryl Crouch, auxillary marketing services executive director, agrees with Milani.\n"I have fond memories of the show. The first time I saw [it] we took my mom to see it for Mother's Day," she said. "I purchased tickets for her for her birthday to the show at IU Auditorium. I think people have enjoyed seeing the show several times because of the music and the show's happy ending. Rogers and Hammerstein's wrote such great musicals and "The Sound of Music" is one of their best."\nCrouch said she also enjoys the show's appeal to all ages.\n"It's a great show for the whole family," Crouch said. "My 14-year-old stepdaughter loves the show and the music, so it's great to have something we can attend together and enjoy."\nAlthough Jackson said she enjoys the year off from school to play Brigetta, she plans on returning home in time for eighth grade and high school. \nJackson still has many goals for herself and a world of possibilities to explore. \n"I would like to go into acting (when I'm older) but what I'd really like to do is be a country singer," she said. "I've been taking guitar for about a year." \nUntil then, she plans on enjoying her first national tour and her audience in Bloomington.\n"It's a really great musical. There's a lot of great music and it even helps you learn how to sing using 'do-re-mi'," Jackson said. "It's a great story line because you go through Maria's life and you know what she's going through. The actors who play the parts really take you on the ride with them"
(10/30/03 5:45am)
"Fame" came to the IU Auditorium Tuesday and Wednesday, and with it came an interesting night of ups and downs. Through the show, the audience had the chance to see four years in the lives of a group of high school students attending a performing arts school in the early 1980s. As the show progressed, the students struggled, learned, grew, and changed as they worked toward their dreams of stardom. What was even more interesting than this progression, however, was the progression of the production itself. The first act was a mishmash of well-meaning actors with failing voices and microphones and overly-simplistic lyrics and themes. The best voices were given only momentary solos, and the jokes seemed forced and cliched. In watching the show, one was reminded less of a professional play and more of a school talent show that was trying too hard.\nA new show, however, came in following the intermission. This "Fame" was polished, engaging, and thoroughly entertaining. The sound technicians pulled their act together just in time for the characters' metamorphoses into polished upperclassmen. Many of the voices, which sounded strained or weak in the first act. blossomed in the second. And it wasn't just the actors pretending to improve. Confidence, energy, and some major improvements in the technical aspects of the show combined (better late than never) to truly present the talent of the cast. Actors Mekia Cox (Carmen Diaz), Colin Cunliffe (Nick Piazza), and Anthony Wayne (Tyrone) all began the show with stiff humor and strained voices, but with time their performances seemed to gain the same maturity that their characters were supposed to be developing. Likewise, the adorably awkward "Serena Katz" (Megan Lewis), the friendly flake "Greta Bell" (Dana Barathy), the lovely but sheltered "Iris Kelly" (Julie Burdick), and the no-nonsense powerhouse "Miss Sherman" (Toni Malone) only got better as the night went on. Their solos and dancing left the auditorium ringing and the audience breathless. Also worth mentioning was Kellee Knighten's solo "Mabel's Prayer." This song was long in coming -- Knighten had very few moments to herself in the first act, but her soulful voice and improvisational skills proved to be worth the wait. \nThough the show could have turned out to be a bad public service announcement with its less than subtle messages about drugs and dropping out of school, by the end of the evening there was no doubt that this show was something special. The costumes were a fun, retro romp. The sets and choreography were superb. What really made this show what it was, however, was the youthful energy and joyful honesty of the actors themselves. Their faults were those of the inexperienced, but their raw talent was equal to the greatest casts. The standing ovation that the grand finale received implied that with a little more work, fame just might be in the future of this cast.
(10/28/03 4:20am)
The cast of "Fame: The Musical," a show coming to the IU Auditorium this week, defines just that -- fame. The play introduces a group of performing arts students trying to sing, dance, act and jam their way to the top. What audiences might not realize, however, is that the actors playing these roles have already been there and done that.\nDiana Rodes, a representative for the show, said some of the actors are young. \n"For some of them this is their first job," she said. Inexperience hasn't stood in their way though as they have toured the United States and Canada, often spending more time on a bus than on stage, Rodes said. \nJulie Burdick joined the cast immediately after her graduation from Niagara University. This is her first tour, and despite the challenges she has faced, Burdick said she enjoys the experience and keeps a positive attitude.\n"I think the hardest thing is not having control over what you can do with your time. We often have to be on the bus at 5 a.m. and we're on there for 10 hours," Burdick said. "We have to get into mics and start stretching out in preparation for the show. (With all that) your whole day is gone. You don't have time to work out or read a book or talk on the phone. Then again, you look at the fact that you're touring the country and doing what you love. This is what I've trained to do (and) I'm not complaining."\nBurdick also said as a rookie in touring theater, she is able to relate to the insecurities of her character, Iris, who is the ballerina of the school.\n"She's afraid that people won't relate to her and won't like her because she's the new kid in town," Burdick said. "Everybody (has insecurities) but then you work through them and you realize the more true you are to yourself the more people will like you." \nLike her character, Burdick has learned a great deal from her experiences as a performer and enjoys working with a diverse and talented group of individuals.\nAppropriately enough, one of the more experienced cast members, Dana Barathy, plays Burdick's teacher in the show. Barathy has been touring since age 10 and, although only in her mid-20s, she has learned a lot about theater. Barathy has a knowing attitude about the show and admits "you have to be on your toes everyday." She said the cast has been working well together and they are all able to relate to their respective characters.\n"All of us can (relate). \nThe show is about going to school and trying to achieve your dreams," Barathy said. "We're all at this place (in our lives). We all worked our butts off to get here."\nBoth actresses said the best thing about touring is getting to do what they love. In spite of the long hours and busy schedules, both women say they are up to the challenge that touring presents. \nTickets for "Fame: The Musical" are still available at the IU Auditorium box office or through Ticketmaster. Cost is $34 to $57 for general admission, and $17 to $37 for IU students and children under 12. The show will run tonight and Wednesday starting at 8 p.m.\n-- Contact staff writer Meredith Hahn at mshahn@indiana.edu.
(09/25/03 6:16am)
It's too darn hot! It's too darn hot!" \nThese words penned by Cole Porter could have been about his musical "Kiss Me Kate" as well as in its lyrics. If the play had been any hotter, the curtains of this bold and suggestive show would have caught fire.\nWritten and set in the late 1940s, "Kiss Me Kate" tells the story of a pair of stubborn actors who bring their on-again, off-again relationship on stage with them as they open a musical based on Shakespeare's "The Taming of the Shrew." Tempers flare and egos take flight as the couple deals with jealousy, professional pride and the sting of past insults. \nThough the show has been running for many years, it has not lost its effect on audiences, as was apparent by Wednesday night's performance. Rife with innuendo and filled with witty word-play, "Kiss Me Kate" kept the audience in stitches with its bumbling, star-struck gangsters, slapstick portrayal of Shakespearean lore and misbehaving young actors. The show left many wondering how such material could be allowed in 1948.\nThe show was nearly flawless. The only complaints that could be made would be about some minor glitches in the audio system. Also, actress Lori Eve Marinacci took her portrayal of the dumb blonde "Lois Lane" just a little too far when she flubbed a couple of lines during "Always True To You (In My Fashion)." But she easily made up for her squeakiness with a bubbly performance which some might describe as downright boiling. \nMarinacci's castmates were also in fine form. They handled the challenge of actors playing very different roles with gusto and energy. Though his character was truly full of hot air, Dexter James Brigham (Fred/Petrucio) used every ounce of his bravado to fuel a deep, rich voice which made the rafters ring, and several female patrons fan themselves enthusiastically. Why did they even bother hooking this man up to a microphone?\nLead actress Emily Herring (Lilli/Katherine) also put on a stunning performance. She carried herself with grace even while being thrown about the stage. Her voice and sense of comic timing were impeccable. The entire cast shared an incredible passion on stage, beginning with the opening number. \nOverall, the music, lighting, costumes and actors blended together into a stunning production. It will come as no surprise to anyone who saw the show if the fire department is called for closing night.
(09/23/03 5:01am)
Katie Kuhlenschmidt and Derek Roland live out of their suitcases for eight months of the year. But the two cast members from the national touring production of "Kiss Me Kate," playing tonight and tomorrow at the IU Auditorium, don't mind the constantly changing hotels and the multi-hour bus treks. \nBoth actors said their profession is not easy to pursue and lacks job security, but they love it even if they can't say exactly why. Touring isn't all hard work, though. There are also fun times, and professional opportunities for an actor or actress lucky enough to make it.\n"Most people will never experience this," Roland said, who plays "Bill" in the musical. "It teaches professionalism and it makes you more mature … It's very challenging artistically to keep it fresh and interesting and fun for the audience and for yourself for eight months." \nFor Kuhlenschmidt, being an actress comes down to one moment -- the curtain opening to reveal a house full of eager spectators. Last year, Kuhlenschmidt was in the touring production of "Cinderella." She said she remembers when she and Roland came to IU last year with "Cinderella," and the curtains opened to a house full of little girls in "princess" dresses beaming up at them. \n"Then you remember -- that's why we're doing this," she said. "It's so much fun every night. (We're able to bring) live theater to parts of the country that maybe wouldn't get it (otherwise)."\nIn "Kiss Me Kate," Cole Porter wrote the lyrics, "Another op'ning, another show, in Philly, Boston, or Baltimore. Another pain when the ulcers blow, another op'ning of another show." \nAlthough Porter's words were written in 1948 to describe the life of the musical's fictitious touring company, they also serve double duty as a description of the lives of the real-life group which makes up the play's cast. \nThe "show within a show" tells the story of a pair of two formerly married actors starring in a Shakespearean production, whose off-stage relationship carries through to their on-stage performances with hilarious results. Both in front of and behind the curtain, the two must decide how they feel about one another. The addition of gangsters, some starry-eyed lovers, and an entire cast just trying to survive to their curtain calls, serves to complicate matters further. \nIn order to make "Kiss Me Kate" run smoothly, numerous cast and crew members must work every day to pull the costumes, choreography, music and sets together. \nWhen asked about their lives on the road, Kuhlenschmidt and Roland said their experiences were similar to those of the characters they played. They, too, spend a lot of time on the road.\n"There's lots of traveling," Kuhlenschmidt said. "If we're in one place for three weeks, we feel like we're being spoiled." \n"I kinda look forward to it," Roland said. "When we're on the bus and we're somewhere for a little while and then get back on the bus. We have our rituals. It goes by quickly."\nDespite all the traveling, there is a sense of security that comes with being in a touring cast. Both cast members felt that to be an actor or actress with eight months of steady work is a major benefit of touring with a show. \nBoth are excited to be returning to the IU Auditorium. \n"It's a gorgeous campus and a great auditorium," Kuhlenschmidt said, who has a brother attending IU.\n"The locals are a lot of fun and hopefully a lot of people will come out and see the show," Roland said. "There's a lot of comedy and I think it'll go over well."\nThough Porter was originally reluctant to compose and write lyrics for a musical based on Shakespeare's "The Taming of the Shrew," the play's emphasis on jazzy numbers eventually won him over. Porter went on to create such songs for the show as "Why Can't You Behave," "So In Love," as well as Roland and Kuhlenschmidt's favorite, "Too Darn Hot." \nMany of the show's songs, as well as Porter's other well-known works such as "Night and Day" and "I Get a Kick Out Of You" are still popular among performers and fans today.\nThough the show has only been touring a few weeks, a lot of work has gone in to polishing the performance so that the words and music come out in the best possible way. \n"Everyone who sees 'Kiss Me Kate' will enjoy it," director Joe Leonardo said. "The materials have remained current. It's about the battle of the sexes … careers … relationships and egos." \nLeonardo's credits include "Cirque Ingenieux," "The Mystery of Edwin Drood," "Cinderella," and "Miss Saigon." \nTickets for "Kiss Me Kate" are on sale at the IU Auditorium box office and Ticketmaster. Prices range from $17-$57 for the general public, and $17-$37 for students.\n-- Contact staff writer Meredith Hahn at mshahn@indiana.edu.
(02/25/03 4:45am)
"Cats," the longest running musical in Broadway history and winner of seven Tony awards, plays the IU Auditorium at 8 p.m. tonight and Wednesday. Since its opening at the New London Theater nearly 23 years ago, "Cats" has been seen by over 8 million people in 26 countries. This week's performances will add more people to that already impressive number.\n"It's one of the more popular shows. We've seen a lot of sales," said box office employee Claire Brosman. \nIn fact, IU Auditorium Director Doug Booher said that so far, "Cats" is the strongest seller of the season. This is the fourth time the musical has visited the campus, but its pull is still as strong as ever among theater-goers. \nThe IU box office isn't the only proof of the musical's appeal, however. In last year's member poll, "Cats" was rated the number one musical attraction by theater patrons, and the fourth most popular show overall on the Auditorium's list of possible events for the 2002-2003 season.\n"It's becoming a classic but it's still fresh," Booher said. "I'd encourage people who haven't seen it to come and see it. It's a part of popular culture but it's really a high quality experience. I've never seen anyone leave without a smile on their face."\nWith a smile on his face, Booher admitted that he has "a soft spot for it" as it was his first Broadway show. \n"Cats" is also a first for IU alumnus Molly Logan. The show marks Logan's debut as a professional actor. She joined the cast (which features another IU alum, Staci Rudnitsky, class of 1997) last December as a swing -- an actor who learns several roles in case one of the actors cannot perform. She is learning a lot and having a great time, she said\n"I really enjoy the audience reaction. It's like we make their night," Logan said. "Being able to bring a Broadway show to people who might have never seen it is beautiful. It keeps you going everyday." \nLogan was excited to be coming back to Bloomington, her "hometown," she said. \n"I love IU more than life itself! I had the best teachers and the best classmates and I learned so much from them," she said. "(If you want to act) go for it. Hang in there and keep trying. Even if you have to be a caterer for a year, just do it and keep trying." \nBloomington seems to be preparing to welcome her and other cast members with open arms. The best seats are selling fast, attesting to the excitement this show has generated among local theater patrons. Although there are still seats available, Booher warned against waiting until the last minute to buy tickets. \nThe show will play at 8 p.m. tonight and Wednesday night, with general admission tickets ranging from $32 to $57. Students may buy discounted tickets for $17 to $37 with a valid student ID.
(02/13/03 4:34am)
Enthusiastic theater-goers packed the IU Auditorium Tuesday night for the opening of "The Music Man" in Bloomington. The audience was made up of people of all ages eager to see traveling salesman and con artist Harold Hill as he smooth-talked his way into the hearts of citizens of a small town yet again. \nThe show had a weak beginning filled with audio trouble, garbled lyrics and a strained performance from most of the actors. However, within a few scenes, a great deal of those problems were fixed. Although Harold Hill has been played by high school students with more talent and energy than leading man Gerritt Vandermeer, the rest of the cast showed great skill and finesse following their shaky beginning. \nEspecially worth noting was their execution of choreographer Susan Stroman's acrobatic and often challenging dance numbers. The timing, rhythm, and grace shown by the performers was impressive. The choreography was thoroughly engaging to watch, and the use of slightly modern drum solos and jazzy brass styles added a unique element to the action. \nThe mayor and his wife, played by Albert E. Parker and Corey Elias respectively, added a charming sense of humor -- which often lacked in Vandermeer's acting -- and kept the audience in stitches with their antics. \nMeanwhile, the barbershop quartet stole the show several times with its masterful sound, and warm delivery. \nLeading lady Carolann M. Sanita showed great spunk in her portrayal of Hill's love interest Marian Paroo. Although her operatic tones were a bit overpowering at times, for the most part Sanita's singing was lovely. She managed to find the perfect balance of stubbornness and vulnerability for her character, and when Hill finally kissed her, the audience was spellbound. \nThe actors received a standing ovation following their grand finale, which, if you left early, you missed out on. Possibly the best moment of the show came after the actors finished bowing. Following their exit from the stage, they all returned in full uniform playing trombones with an energy that had every pair of hands in the house clapping along. Each cast member had an instrument and marched in formation with Harold and Marian leading the way. \nThe show finished with the unfurling of an American flag and a final, passionate kiss between the two lovers. Even the most cynical critic, had to leave smiling at the end of the night, this one included.
(02/11/03 5:56am)
For the first time in over a decade, Meredith Willson's "The Music Man" comes to the IU Auditorium today. The show runs at 8 p.m. tonight and Wednesday. \nBringing with it an all-singing, all-dancing, all-trombone-playing cast, the show has been hailed as a spectacular revival of this classic American musical. The play tells the story of fast-talking salesman Harold Hill, who convinces the small town of River City that he can teach their children to play in a marching band. However, instead of skipping town before the instruments arrive, the conman falls in love with the town librarian, Marian Paroo. The story shows Hill's effect on the small town's citizens, and their influence on him as well.\n"(The show) is one of the strongest road programs I've seen in a long time," said IU Auditorium Director Doug Booher, who had a chance to preview "The Music Man" during the summer before signing it on as part of the 2002-2003 theater season. "Even if you've seen it before, this is a new incarnation of the show ... It's familiar but with a fresh twist."\nUnlike most touring productions that bring two or three trucks and perhaps a dozen or so cast members, "The Music Man" will make its Bloomington debut with the help of six trucks full of sets, costumes and props, as well as 44 actors. Setup will take approximately 12 hours, but the work, according to cast member Molly Morris (Gracie Shinn), is well worth it. \n"It's a beautiful set. It's huge and it's gorgeous," she said. "Every town we've gone to, everyone has fallen in love with the show. People really seem to love it no matter how old they are. It's a timeless tale. It takes place in 1912 but I think it [still] holds true. It was a really good show to begin with but the orchestrations done for the revival bring a whole other quality to the show. It's more exciting." \nA great deal of the credit for this rejuvenation has been given to director-choreographer Susan Stroman. Morris had a great deal of praise for her, and she was not alone. \nVariety's Chris Jones wrote that Stroman's "fabulous finale ... is likely to pop viewers straight to their feet" in his review of the play. \nFor those who haven't purchased their tickets yet it's not too late. Tickets are available at the IU Auditorium box office or from Ticketmaster. General public tickets range from $32 to $57, while student tickets are $17 to $37 with a valid ID. \nThe show promises acrobatic choreography and an inventive style which continue to the very last bow. \n"Don't leave before the show is over," Morris said. "We have a really great finale during the curtain call"
(09/17/02 5:08am)
Any man who tries to demystify the female experience is either very brave, or very foolish. Sadly, the latter is the case in Jaimie Clarke's novel, "We're So Famous." In a tale of three young, star-struck women looking for fame, Clarke has a wonderful vehicle for exploring the feminine mind and a terrific chance to entertain his readers. Unfortunately, he does not rise to the challenge of cross-gender writing and in his attempts to tell a story from a woman's point of view, he fails miserably. \n"We're So Famous" is written in three parts and tells the story of Paque, Daisy, and Stella who dream of starting a band like their idols Bananarama, or becoming famous starlets in Hollywood. Each part of the story is told by a different character, but their narrative voices are so similar, they may as well be the same person. In fact, the experiences of making the same mistakes numerous times is so common throughout the book that the reader is left wondering why the writer even took the trouble to tell her story in the first place. \nDespite the characters' admirable, undying optimism, they never learn from their mistakes and are so lacking in dimension that one has to wonder just what Clarke is saying about the average woman. Can he truly not differentiate between one woman and another, or does it just seem that way because of his poor characterization skills. His literary women are so unvarying that it is only natural to ask if the writer has ever known a woman beyond a superficial sense. \nThis may be too harsh a judgment to pass on a man who has undertaken such a monumental task as writing from the point of view of someone so different from himself, but it does seem like Clarke could research his subject a little better. Upon reading this book, it seems the author cares more about showing off his knowledge of Hollywood pop culture than he does about developing three characters who have a great deal of potential as interesting and engaging personalities. The acknowledgements at the end of the book are actually a great deal more entertaining because he speaks to us in his own voice rather than that of a creation he can't identify with. In the future, Mr. Jaimie Clark would be well advised to stick to what he knows, and leave the feminist writing to the ladies.
(07/25/02 8:23pm)
The cacophonous melody of the pit orchestra tuning its instruments. The smell of a fresh playbill held tightly in your hand. The luxurious gaudiness of a fine theatre with its red ascending chair rows and golden, glowing stage. These are the things that make my heart skip a beat each and every time that I go to the theatre. \nI will be the first to admit it...my name is Meredith Hahn, and I am a theatre junkie. Yes, I save each and every program, ticket stub, and flier. I denounce anyone who would dare be so bold as to put his feet upon the faux velvet seat back in front of him. I have been known to turn any statement into a song cue and burst into a Broadway-style solo the likes of which should never leave the confines of an acoustically sound bathroom. I'm looking for a twelve-step program for this seemingly incurable malady, but until the time I either rid myself of this musical obsession, or wake to find myself with enough talent to make it on old Broadway, I'll just have to do the next best thing; buy a season pass and enjoy the madness!\nNever having seen South Pacific, and knowing only that it was the source of such songs as "Some Enchanted Evening," "Bali Hai" and "I'm Gonna Wash That Man Right Out-a My Hair," I was intrigued and intoxicated with excitement. Not only would I be seeing the first performance of a new national tour, I would be beginning my own endeavor as an IDS journalist. Yes, just as the actors who graced our hometown stage were beginning a new tour with a fresh new production, I was beginning my journey into artistic critique with energy and a hunger for drama. It was time at last to feed my addiction. \nThe critic in me had this to say: "Leading lady Erin Dilly made an energetic and loveable Nellie. But I found Michael Nouri's Emile to be stiff and callous in his rendition of what should have been touching love songs. A few plot holes aside, the show was cheerful, endearing, and almost completely redeemed of its pre-tour faults by the charming ensemble that made up the nurses and soldiers living on a war-torn Pacific island. Overall, it shows potential for success if it can just work out a few bugs." \nBut the theater-addict in me pulled me into a more reflective groove. I found myself examining the message of the piece, and holding the technical aspects back from my drama-drunken eyes. What was the play trying to tell me? "Love and equality despite obvious differences" seemed to be the answer. (That explains the warm and fuzzy feeling I had after the show.) I felt at peace with this message in light of recent tragedies, and it will always remain in my memory as an evening of firsts. My start as a writer, a troupe's first performance before an audience, and something even more important by far. As the curtain calls ended, Michael Nouri asked the audience to join him in singing "America the Beautiful" as cast members collected donations for disaster relief in New York. I knew from the tears in the eyes of my fellow audience members, that this could be a new beginning for our nation as well. \nAll that from two hours at a play may seem a little ridiculous, but all I can say is that it was "Some Enchanted Evening"
(07/25/02 8:23pm)
Sitting and listening to the original cast recording of "Rent," I'm reminded of the reason why it never seems to get old. With a cast comprised entirely of young, passionate individuals, the whole play shines with an energy and power that keeps it fresh no matter how many times it plays. \nThis was certainly the case this weekend, when the national tour of "Rent" opened the new season at the IU Auditorium. Receiving a well-deserved standing ovation, the production was appreciated by all present, young and old.\nThe cast was vibrant and talented, from the main characters to the ensemble. A notable moment was the solo portion during "Seasons of Love," which had the audience clapping along, as well as forcing bittersweet tears from more than a few eyes. Although the character of Mark Cohen (Dominic Bogart) was played in a rather timid and disappointing manner, which all but ruined a few important solos, on the whole, the show was impressive and entertaining. \nKrystal Washington made a fresh and lovely Mimi Marquez, giving the character both an experienced maturity and a naive sort of charm. Her talent was especially impressive during her rendition of "Out Tonight," a song whose choreography was bold enough to elicit catcalls (and some prudish blushing) from the audience, and also in her scenes with the equally talented Kevin Spencer (as Roger). The two shared a chemistry onstage that was passionate and tender, with Spencer (although his look could be compared to an out-of-work Backstreet Boy) playing to the crowd as an intense and believable artist striving for glory.\nAny "Rent" fanatics who missed the show (and my condolences go out to them, for only death can keep a "Rent" fan from a show!) will be pleased to know that Angel, one of the most challenging characters of the show, was played with high-heeled grace and gusto by Justin Rodriguez. Tom Collins (Bruce Wilson Jr.) started out a little weak, even for a computer nerd, but proved himself a smooth and soulful singer more than equal to his on-stage partner before the first act was over. \nAnd who can forget Joanne and Maureen? Of all of the casts I've known, this weekend's Joanne was by far the best I've seen (and heard!). Bridget Anne Mohammed had attitude and style to spare in a performance that can only be described as vibrant. She more than made up for a few moments when her on-stage partner Maureen (Sara Schatz) fell flat. Ms. Schatz could be a little too edgy in her portrayal, even for a protester. Still, Maureen was a tough and extremely funny addition, even after the hype that naturally builds for her during Act 1, when she is hardly seen. The two were not a perfect match in dialogue and interaction, but they worked out any creative differences they might have had by the time they had to sing "Take Me or Leave Me" in Act 2.\nAlthough many people are reluctant to comment on the villain, it must be said: Matthew S. Morgan was slick yet human as everyone's favorite sell-out, Benjamin Coffin III. From his gestures to his voice, Morgan created a more three-dimensional character than some other actors have. It was difficult to hate him even before his heart grew three sizes (a la the Grinch on Christmas day), just because his performance was so warm and so often humorous.\nOverall, the show was a spectacular success, and an effective union of a rock concert and the traditional Broadway musical. For those new to the experience, it was lively and refreshing, and even those who arrived with the script and soundtrack memorized were not disappointed. The touring group proved beyond a doubt that even several years after its Broadway debut, Rent still has the power to entrance and entertain.
(07/25/02 8:23pm)
The Jewish Studies Program and the Lotus Education and Arts Foundation have combined forces to bring a special entertainment and education event to Bloomington this weekend. \nInternationally-acclaimed klezmer band Brave Old World will perform Sunday and hold a workshop Monday to raise money to promote Yiddish graduate studies at IU. \n"Those of us devoted to Yiddish feel it is essential to do everything we can to keep its language and culture alive within the university setting," said Professor Alvin Rosenfeld, director of the Jewish Studies Program in a press release. "We intend that IU will become one of a handful of American universities with a major Yiddish studies program." \nIU provides courses in Yiddish language, literature, linguistics and the history and culture of Eastern European Jewry. This concert will further the program while also teaching the community about an important part of Yiddish culture -- klezmer music.\nKlezmer, a type of folk music originating with Jewish people in Eastern Europe, was all but obliterated during the Holocaust era. In the last 50 years, it has been revived (mostly in America) by musicians who learned it from their parents. In the past, it was rarely written down in the form of sheet music, but was passed down from generation to generation until the mass execution of many of its students during World War II. \nToday, there are very few musicians who can play or teach this style of music. All four members of Brave Old World, including vocalist Michael Alpert, pianist and accordion player Alan Bern, clarinetist Kurt Bjorling and percussionist Stuart Brotman, played in the first three or four klezmer revival bands of the 1970s. They met each other while working with other groups and although they all live in different cities today, they have toured together as Brave Old World for seven months out of every year for the last 12 years.\nBut Brave Old World "isn't your grandfather's klezmer," said Alan Bern, a Bloomington native and alumnus. The four men have studied klezmer for many years, but use their band to expand upon what they know and bring it to others in a format that anyone can appreciate. \nCalling their style "New Jewish Music," Brave Old World mixes traditional instrumental klezmer music, which was used for dancing and celebrating, with vocal music traditionally used in religious services and worship. \nLotus executive director Lee Williams was excited to bring this music to IU, and describes Brave Old World's music as "spiritual and traditional... this isn't popular Top 40 music, but it can be very lively and very moving." \nOf the band members themselves, Williams said "they understand and love the music, and each member has a deep knowledge of the music and the community it fits into. They are continuing a tradition." \nMelissa Deckard is the events coordinator for the Jewish Studies Program at IU. She said she looks forward to the concert as both an entertaining event and a chance to educate people and raise money for a worthy cause.\n"It's very exciting. You feel the music -- it's very emotional," she said. \nThis musical event is not just for Jewish Studies majors. Bern emphasizes the fact that, although the music will be in Yiddish, English translations of the music played will be handed out to the audience. \n"Don't be afraid, this is music for non-musicians," he said. "You don't have to be an ethnomusicologist to appreciate it." \nBrave Old World has traveled all over the world playing their "New Jewish Music" to appreciative audiences. They have appeared on a PBS special with famed violinist Itzhak Perlman, and offer workshops for people who want to learn more about klezmer.\nBrave Old World will appear in concert at the Buskirk-Chumley Theatre, 114 E. Kirkwood Ave. on Sunday at 8 p.m. Tickets may be purchased for $18 at Borders in Eastland Plaza or through Lotus by calling 336-6599. A free klezmer workshop featuring a lecture and demonstration by Brave Old World will be held at 4 p.m. Monday in Auer Hall.
(07/25/02 8:23pm)
As the sweet, familiar notes of the title character's violin were heard, a hush fell over the crowd. From those first simple tones to the last curtain call, Tuesday night's performance of "Fiddler on the Roof" proved once again that after countless performances, it still has the power to move audiences.\nThe play tells the story of Tevye, a Jewish family man, and his community in the time prior to the Russian Revolution. Filled with witty one-liners, as well as painful moments modeled after true events from the Russian pogroms, the show told a poignant tale while still managing to keep a sense of humor.\nFor those familiar with the show, the night had potential for disappointment. For several weeks, it has been difficult to commute without coming across numerous fliers for the show announcing Theodore Bikel in the lead role. The combination of hype and years of hearing the Broadway soundtrack left many (this writer included) wondering whether they would be able to enjoy the play. At first, the show seemed destined to fail. Bikel's portrayal of Tevye was stiff and his delivery unnatural. The cast managed to outshine this famous star with ease.\nBut by the end of the first act, Bikel had warmed up and managed to thaw out his role as well. At last, we were able to see the endearing Tevye for which the show is famous. The rest of the cast also improved with each number. Especially worth mentioning were the characters of Yente (Yiddish for gossip) the Matchmaker played with nosy gusto by Mimi Bensinger, and the shy, young tailor Motel brought into a timid manhood by Michael Iannucci.\nAs the audience was made to forget any less-than-perfect moments in the beginning of the play, seasoned fans of the show were made to forget their preference for the original cast as the night went on. Tevye's daughters were a breath of fresh air compared to the wailing vocals used on the Broadway recording. The actresses who played Tzeitel, Hodel and Chava were lively and lovely in their portrayal of three young women dreaming of the future. Whether they were dancing with broomstick grooms to "Matchmaker, Matchmaker," or creating a nostalgic background to Tevye's solo "Chavaleh," these young women added a unique spark to the show.\nAlthough the show sometimes tried too hard to add color, for example in the nearly psychedelic dream sequence in act one, overall it was a great success in keeping a classic production looking like new.\nSome may perceive "Fiddler on the Roof" as a depressing play, where every joyful moment is broken up by sadness or tragedy. To a certain extent, this is true. The story is a bittersweet mixture of jokes and misery, but that is only because it reflects a sad time of displacement and wandering for the Jewish people of Europe. The point of the play is to illustrate that where there is life, there is hope. No matter what happens to Tevye and his little village of Anatevka, he never loses his devotion to God, or to his family. By holding onto his faith and the traditions of his heritage (personified by the fiddler), Tevye manages to maintain a shaky balance, and even find occasion to laugh at his misfortune.\nThis message carries through the entire play as humor makes an entrance into even the most desperate moments. By the end of the night, an overwhelming sense of hope was left for the audience as the characters were seen packing their belongings and moving on to what they hoped would be better times. This message was as well received as Bikel, who was given a standing ovation.\n"Fiddler on the Roof" conveyed a sense of cautious optimism that is as effective now as it was when Tevye first appeared on the stage so many years ago. It seems that some traditions just can't be broken.
(07/25/02 8:23pm)
In less than a week, Bloomington residents will finally get to see what the whole world is talking about. At 8 p.m. Tuesday, internationally renowned and critically-acclaimed performer Michael Flatley will bring his troupe of champion Irish dancers to the IU Auditorium to tell the story of "Lord of the Dance" for one show only.\nAccording to a press release, in the fewer than five years that Flatley has been touring with his show, 50 million people have come to applaud this classic tale of good vs. evil and appreciate the tradition of Irish dance.\nWith his show, Flatley said he wishes to "take the audience on a wondrous adventure that will ignite their minds and souls (by combining) traditional and modern forms of dance to create a high octane blend with soulful beats and feet that move too fast to comprehend."\nFlatley himself knows about fast feet better than anyone. His own were clocked by the Guinness Book of World Records as the world's fastest at 35 taps a second.\nAlthough Flatley is no longer performing in the lead role, as he did when the show opened, he still\nserves as the artistic director and continues to oversee all aspects of the production.\n"It's not ballet. It's not tap. And it's not Flamenco," he said of the show. "It's something that I had to create from scratch because nothing else would fit."\nFlatley has become well-known for his innovations, and many give him credit for popularizing Irish dance all over the world. His show brings together dancers like himself in a performance troupe that has won many of them international recognition.\nCast member Josephine Brennan will play the role of the seductress in this story, based on an old Irish folktale, in which the Dark Lord Don Dorcha challenges the Lord of the Dance.\nWhen she joined the group four-and-a-half years ago in a smaller role, she planned on staying for a year and then moving on. But with each passing year she said she found herself unable to leave. She said now she has given up this notion. \nShe described the whole experience as "exhilarating."\n"It's the most different thing that I've ever been involved in," she said. "The show is fast and furious and completely dynamic."\nBrennan said she loves her role as Morrighan and has fun portraying her, even though she said she has nothing in common with her onstage persona. When she is not touring with the cast, Brennan teaches other aspiring dancers in her own school in Ireland. Her school now has approximately 150 fast-dancing pupils, and she said she is pleased to know of many such schools in America.\n"Lord of the Dance" would not be possible without its promoters. Jessica Lawson is the booking and marketing executive for Utsick Presents, which is one of the show's promoters. As the phenomenon travels across the nation, she said the show's promoters are excited to bring the cast to Bloomington.\n"We are very excited to be involved in this production of 'Lord of the Dance,'" she said.\nTickets for "Lord of the Dance" are still available at the IU Auditorium Box Office or by phone at 333-9955. Adult tickets cost $36, $45 and $50, and IU students with a valid ID receive a $4 discount.
(02/01/02 4:41am)
This weekend will mark the collegiate debut of a new spin on a classic work of American literature. Louisa May Alcott's "Little Women" will be performed on stage at the Musical Arts Center in an opera production composed by Mark Adamo.\nThe opera has been leaving raving critics in its wake since it first opened in Houston in 1998, although it was the composer's first operatic production. Adamo said when the idea of turning "Little Women" into an opera was first presented to him, he thought it would be "death on stage." But upon immersing himself in the book he began to get a sense that it was about something truly compelling.\nJanice Hammond, a doctoral student in voice, will be playing the role of Alma March. She said she is very excited to be part of such a new production.\n"It's a very endearing story familiar to a lot of people and an American classic," Hammond said. "It's got so much to offer."\nThe original story examines the lives of the March sisters as they grow and mature in the time of the American Civil War. Since its publication, there have been three movie productions and several plays written from the tale. But unlike many other treatments, this weekend's production will not focus on Jo's romances. Rather, it will show her as a girl on the verge of womanhood, trying to keep her life and the people around her from changing.\nAdamo promises that although this story has traditionally been more popular with female audiences, the production is not aimed at any particular gender or age group. He said he hopes everyone can take something from it. \nAdamo found that, as a man' he could identify with Jo when her older sister announced her engagement. Like Jo, Adamo said he was hurt and bewildered by the realization that he was not the only loved one in his sister's life. He had to come to terms with life as an unstable and often surprising thing, but in doing so learned that family is forever, and the bond of love between siblings cannot be broken. The composer points to this incident as one of the guiding forces in his adaptation.\nSince this production is new, the IU Opera Theater has been working tirelessly to prepare sets, costumes and lighting themes in which to best present the show. Designer Robert O'Hearn researched numerous books on the civil war period as well as "Little Women" itself in its many adaptations in order to best stage the production. A miniature replica of the stage set sits on a workbench in his office, attesting to the amount of work and attention to detail that has been put into this production. Despite O'Hearn's difficult task, he has managed to catch a bit of the opera itself as it is rehearsed.\nHe describes it as "a romantic opera with a different look and different music." He said it is easily accessible even to people who are not familiar with opera and added that "it's very enjoyable and (everyone) should make an effort to see it."\nThe opera will be performed in English with English subtitles.\nMark Adamo will be in Bloomington today at 3:30 p.m. to present a master class in Ford-Crawford Hall. This event is free and open to the public.\nTickets are still available for the show at the Musical Arts Center Box Office. Performances will be held Feb. 2, 3, 8 and 9. \nExcept for a 3 p.m. matinee Sunday, Feb. 3, all shows will be at 8 p.m. Tickets are $18 for adults and $10 for students.\nOne hour before each show, an "informance" will be held for patrons interested in learning more about the opera. All ticket holders attending the opening night informance Feb. 2 will have the opportunity to meet the composer. After the first show, attendees may also join Mark Adamo and the cast for a curtain call at 10:15 p.m. in the MAC lobby.\nThe Indiana School of Music, T.I.S. Music Shop and The Crazy Horse are sponsoring an opera date package Saturday, Feb. 2. For reservations or more information about the Opera date packages, call 855-9846.
(01/31/02 4:21am)
\"Beggar and millionaire, everyone everywhere was moving to that ragtime." \nThis line from the opening number of the musical "Ragtime" sums up a great deal about the show. Not only does the play follow the lives of three segregated groups at the beginning of the 20th Century, but it also describes the audience reaction to the night's performance. \nFrom college students in blue jeans to older patrons in their best evening wear, everyone at Tuesday night's show felt touched by the performance, as evidenced by the standing ovation the cast received. \nOne could feel the vibration of tapping feet and clapping hands throughout the room, and the sound of excited whispers of appreciation became a buzz as song after song filled the crowded IU Auditorium. \nDespite a few microphone difficulties in the first act, the occasional sour note and a stiff actor or two, the play was a great success. \nThe story of immigrants, minorities and naive, upper-class citizens on the brink of change prior to World War I became an emotional journey with uplifting vocals and potent visual effects. Once they warmed up a bit, the actors brought their struggling characters to life with an unbelievable warmth and vitality.\nSarah, played by Kenita Miller, brought tears to more than a few eyes with her rendition of "Your Daddy's Son." Her rich voice was extremely moving with a grace and maturity that is rightfully associated with only the most prestigious actresses. Her vocal control and range rivaled even the great Audra McDonald, whose voice has enchanted so many in the same role on Broadway. \nSimilarly, the part of Coalhouse Walker was filled with heartfelt emotion and lively enthusiasm by Quentin Darrington, one of the first performers to carry the heavy burden of this tortured character without over-acting to the point of ridiculousness. \nHis voice was sweet and strong, and the greatest tragedy of the play came not when he buried his love, but when his microphone faded to near-silent levels with a snap of static. He saluted the air at the end of his performance. Thankfully, the sound technicians finally managed to bring his gift of music back to the audience. \nNot to be forgotten among the players was Mother, played by Emily Herring. So incredible was her performance, it became easy to forget the other actresses who have played the very same role with less enthusiasm. \nHer solo "Back to Before" ended with a note that not only illustrated the growing sense of empowerment within the character, but the power of the actress's own voice, as well. \nHer appearance during the curtain call nearly caused a riot, as audience members strained to clap even louder and harder than they had already done for the other players.\nThe character of Tateh was less pleasing to behold mostly because of his stiff portrayal of a disillusioned immigrant in the lower East side of New York. More than one sour note managed to escape him in the course of the night, though his fast articulation of "Buffalo Nickel Photoplay, Inc." redeemed him quite a bit. \nThe characters of Mother's Younger Brother and Father were much warmer in this cast than in some others. \nFather managed to evoke some empathy within the audience, and many seasoned "Ragtime" fans were disappointed when Brother's song "He Wanted to Say" was cut in favor of a short narrative by Emma Goldman, played endearingly by Kimberly Chesser. \nOf course, no show ever appears as we expect or remember it. Each new cast, and even each new city, brings with it a new treatment of the story and new potential for change -- both positive and negative. \nThis show was no exception. \nSince the play opened, some visuals have been changed to make touring easier, and a few songs have been altered slightly or left out. Still, despite a storyline that occasionally trails fluff in its wake, "Ragtime" continues to display the power and hopeful optimism that has made it so famous since its debut.
(12/03/01 3:55am)
Saturday night's performance of "My Fair Lady" went off without a hitch, as do so many IU Auditorium productions. The backdrops fell noiselessly, props and sets changed smoothly, the costumes were everything one would expect from a professional group and Tom Henry played the role of Henry Higgins as if it were written for him. \nSitting in the dark, playbill in hand, it was easy to relax and let the musical based on George Bernard Shaw's "Pygmalion" unfold with its charming tunes and witty dialogue. Often imitated, but never duplicated, (with movies "Pretty Woman" and "She's All That") the show has kept its warmth and energy even after many years and many casts. \nAmid a long stage run, a well-known movie release and songs that have been the subject of countless parodies, how does the play manage to keep auditoriums filled year after year? Any spectator can readily answer that an original live performance is always superior to films and spinoffs, but why? The play used sets that were positively barren compared to the lush decorations used in the popular 1964 film. Some of the music sounded one-dimensional because the instrumentalists were playing behind the curtain rather than in the pit and relied on speakers. These were certainly not enough to impress the average audience. Still, no one could be seen leaving with so much as a frown. What was it that left stars in the eyes of so many theatre patrons this weekend?\nThe answer to this puzzle lies in the ensemble. So many times, these individuals are overlooked and underappreciated, but they are truly the ones who bring us back time after time to the theatre, whether we realize it or not. In the case of "My Fair Lady," the ensemble made up a small troupe of supporting roles dictated by the scene. In some scenes they were loveable ragamuffins pounding out rhythms with trash can lids and beer steins. In other scenes, they comprised the staff of Professor Higgins' home who scolded and celebrated in turn their master's attempts to make a princess out of a peddler. In one of the most amusing scenes they made the audience roll with laughter at their portrayal of stiff English nobility watching a horse race. \nThe ensemble managed to blend in and enhance the performance of the lead roles, but their performance consisted of some of the most impressive choreography, the highest high kicks, the tightest vocal harmonies and the greatest flexibility of any characters in the show. Even as they moved from one scene into the next, the ensemble entertained the audience with their fast-paced antics and acrobatics, even chattering among themselves during their curtain call. From saucy bar maids to barbershop-singing street urchins, the ensemble provided the show with a warmth and humor that was unbelievably subtle in its perfection. These men and women who went unnamed except in the program's pages changed effortlessly from one set of personalities to another, all the while maintaining appropriate accents and postures for their parts. \nEliza Doolittle herself did not have to change so drastically or so often as the people around her did for this show. \nThe next time you go to the theater, take this as your challenge: watch the supporting actors carefully and see if you don't think they deserve as much or more of your appreciation than the show's headliners. Such an examination of Saturday's performance revealed that "My Fair Lady" had more than "A Little Bit Of Luck" on its side ... it had a truly great ensemble of players.