Harry Groener News

Stage and screen stars Brooke Shields and Richard Chamberlain will take on the iconic roles of Chris MacNeil and Father Merrin in playwright John Pielmeier’s world premiere of The Exorcist at the Geffen Playhouse. Helmed by acclaimed director John Doyle, who won a Tony Award for his striking reimagining of Sweeney Todd, this stage adaptation of William Peter Blatty’s famous 1971 novel transforms the unsettling battles of good versus evil, faith versus fact and ego versus ethos into a uniquely theatrical experience as sophisticated as it is suspenseful. (more...)

Forget “Rock Of Ages.” That 21st century musical about the 1980s has nothing on the real thing. “Cats,” the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, “Now And Forever”) at Chicago’s Cadillac Palace Theatre. Forget “Rock Of Ages.” That 21st century musical about the 1980s has nothing on the real thing. “Cats,” the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, “Now And Forever”) at Chicago’s Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you’ve never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It’s a little like entering a time machine, and there’s a lot of sleight of hand, but it works. Let me explain. What is “Cats?” Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, “Memory,” which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It’s a dance show (choreography by Gillian Lynne) written by a singer’s songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work (“Old Possum’s Book Of Practical Cats,” and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of “A Chorus Line,” a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--“Ain’t Misbehavin’” comes to mind), and even shows like “Forever Plaid” and Lloyd Webber’s “Starlight Express” feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that’s fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children’s show “Joseph And The Amazing Technicolor Dreamcoat” and others), Lloyd Webber’s previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, “Jesus Christ Superstar” and “Evita,”) were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But “Cats” seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats’ eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber’s “The Phantom Of The Opera” and director Trevor Nunn’s “Les Miserables,” all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was “the birth of the musical spectacular,” as Broadway In Chicago’s promotional materials tell us. This particular edition of the endless “Cats” tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed “cut down” from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the “Christmas lights” that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship’s set needed for the “Growltiger’s Last Stand” sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven’t seen the video of the London production, or the show as it played in the early ‘80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn’t know. And do I care of part of the set is inflatable, as rumor would have it? I don’t care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can’t dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn’t challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, “’Round the cathedral rang ‘Vivat!” Come on! It’s “Cats.” It’s eye and ear candy galore. I don’t even like cats, but I do like “Cats.” Very much. “Cats” plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast (more...)

Tony Award-winning ensemble member Frank Galati returns to the helm at Steppenwolf Theatre Company with his stage adaptation of The March, Pulitzer Prize-finalist E.L. Doctorow's novel about General William Tecumseh Sherman's Civil War march through Georgia. This marks Galati's Second Stage production of a Doctorow novel, following the highly-acclaimed musical Ragtime (1998). The much-anticipated production features a cast of 26 playing a mix of fictional and historical characters. The March begins previews April 5 (Opening Night is April 15; Press Performances are April 14 at 3pm and April 17 at 7:30pm) and runs through June 10, 2012 in Steppenwolf's Downstairs Theatre (1650 N Halsted St). Tickets ($20 - $78) are on sale now (prices are subject to change). Check out the production photos below! (more...)

Just as the 2012 presidential race heats up,International City Theatre (ICT) presents the West Coast premiere of a hard-boiled, darkly comic, Olivier Award-nominated rock musical about the American political machine. With book and lyrics by John Dempsey and music by Dana P. Rowe, The Fix begins a four-week run on April 27 at International City Theatre in the Long Beach Performing Arts Center. Randy Brenner is at the helm, with musical direction by Darryl Archibald, choreography by Heather Castillo, and Sal Mistretta reprising his Helen Hayes Award-winning role as Uncle Grahame. Low-priced previews take place on April 24, 25 and 26. (more...)

Steppenwolf Theatre Company hosts an evening of conversation about the world of storytelling on Monday, April 16 in Steppenwolf’s Downstairs Theatre. Featured for the event are two expert storytellers, Tony Award-winning ensemble member Frank Galati and Pulitzer Prize-finalist E.L. Doctorow, moderated by Steppenwolf Artistic Director Martha Lavey. (more...)

Old Gershwin musicals never die, they just get revised into new Gershwin musicals. (more...)

Tony Award-winning ensemble member Frank Galati returns to the helm at Steppenwolf Theatre Company with his stage adaptation of The March, Pulitzer Prize-finalist E.L. Doctorow’s novel about General William Tecumseh Sherman’s Civil War march through Georgia. (more...)

The Chicago Theater Beat (formerly the Chicago Theater Blog) today announced the nominees for the 1st Annual Chicago Theater Critics' Beat Awards. The Beat Awards provide an opportunity for Chicago's critics to give recognition to outstanding achievements in Chicago's theatre community and the artists involved. (more...)

Hottest Articles on BroadwayWorld.com from this weekend Sunday, February 19, 2012 - Sunday, February 19, 2012. (more...)

Today in 1992, Crazy for You opened at the Shubert Theatre, where it ran for 1622 performances. Crazy for You is a musical with a book by Ken Ludwig, lyrics by Ira Gershwin, and music by George Gershwin. Billed as "The New Gershwin Musical Comedy", it is largely based on the songwriting team's 1930 musical, Girl Crazy, but interpolates songs from several other productions as well. Crazy for You won the 1992 Tony Award for Best Musical. The Broadway production was directed by Mike Ockrent and choreographed by Susan Stroman.The cast included Jodi Benson as Polly, Harry Groener as Bobby Child, Bruce Adler as Bela Zangler, John Hillner as Lank Hawkins, Michele Pawk as Irene Roth, Jane Connell as Mother, and Beth Leavel as Tess. (more...)

Steppenwolf Theatre Company continues its 2011/12 season with The March, based on the novel by E. L. Doctorow, adapted and directed by ensemble member Frank Galati, playing April 5 – June 10, 2012 in Steppenwolf’s Downstairs Theatre, 1650 N. Halsted St. (more...)

Reprise Theatre Company will present An Evening With Joan Rivers for one performance only on Monday, January 30 at 8:00 pm, at UCLA’s Freud Playhouse. (more...)

Reprise Theatre Company will present An Evening With Joan Rivers for one performance only on Monday, January 30 at 8:00 pm, at UCLA’s Freud Playhouse. (more...)

There's just a few weeks left to go in voting for the 2011 Chicago Awards and here is the latest update! Have you voted yet, and helped to spread the word to support your favorites in the hopes that they will be the recipients of a 2011 BroadwayWorld Chicago Award? There is no time to waste, click on the voting link and make your opinion count! Below are the stats so far as of Monday December 05, 2011. (more...)

There's just 4 weeks left to go in voting for the 2011 Chicago Awards and here is the latest update! Have you voted yet, and helped to spread the word to support your favorites in the hopes that they will be the recipients of a 2011 BroadwayWorld Chicago Award? There is no time to waste, click on the voting link and make your opinion count! Below are the stats so far as of Monday November 28, 2011. (more...)

Voting is now well underway for the 2011 Chicago Awards and here is the latest update! Now, it's time for you to get out and vote for your favorites in the hopes that they will be the recipients of a 2011 BroadwayWorld Chicago Award. No time to waste, click on the voting link and make your opinion count! Below are the stats so far as of Monday November 21, 2011. (more...)

Today, BroadwayWorld.com is announcing the nominees for the 2011 BroadwayWorld Chicago Awards! Representatives of 67 different theater productions, which played at 40 different Chicagoland theaters, are nominated in the 25 categories for the second annual Awards. As these are the only Theater Fan Choice Awards for the internationally known Chicago theater scene, the nominees rightly come from both Equity and Non-Equity theater companies, and from the worlds of plays, musicals, revues and touring shows. (more...)

The latest in unauthorized gossip and buzz from the heart of Chicago's showtune video bars, and musical theater news from Chicago to Broadway. Jeff Award results, "Joseph" in Aurora, three shows at Northwestern, two at Northlight, two national tours and more.... (more...)

At the gala 43rd Annual Equity Jeff Awards held at Drury Lane Oakbrook on Monday, November 7, "The Madness of George III," from Chicago Shakespeare Theater, took top honors for a play in the Large Theatre tier with a total of 5 awards, including Production - Play, Director Penny Metropulos and Principal Actor Harry Groener. In musical categories for large theatres, the Goodman Theatre and Shakespeare Theatre Company production of "Candide" won top awards for a musical with 5 statues, including Production - Musical, New Adaptation for Mary Zimmerman, Principal Actor Geoff Packard and Supporting Actress and Actor, Hollis Resnik and Larry Yando. The revisionist team of Director Charles Newell and Music Director Doug Peck of Court Theatre claimed directing honors for large musicals with their new look at "The Gershwins' Porgy and Bess." (more...)