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items tagged with Valeree Pieper

Super-cali-fragi-listic-expi-ali-delicious: "Mary Poppins," at the Prospect Park Auditorium through August 16
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2015-08-10 17:00:00

John Whitson, Heather Herkelman, Molly Ahern, and Brennan Hampton in Mary PoppinsWhile I expected to enjoy Quad City Music Guild’s Mary Poppins on Friday, I didn’t anticipate being as mesmerized as I was by this stage adaptation of the Disney film. The movie's songs by Robert and Richard Sherman are there, with additional tunes by George Stiles and Anthony Drewe, and a book by Julian Fellowes that adds elements from P.L. Travers' children's-lit classic. And the result, while three hours long, is an improvement on its cinematic inspiration, with the additional material even more interesting than the familiar story elements.
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Saving Mrs. Bankrupt: "The Way West," at the Village Theatre through May 24
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2015-05-18 12:00:00

Sarah Baxter and Valeree Pieper in The Way WestIt was difficult to go into Saturday’s performance of New Ground Theatre’s The Way West without high expectations given the cast of women involved. I’ve enjoyed all four of them in the past and was certain I’d be impressed yet again, and by the end of the night, my respect for their talents was mostly renewed due to each one's admirable characterization.
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The Wonderful Whizzers of Odd: "Urinetown," at the Prospect Park Auditorium through March 29
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2015-03-26 18:02:16

Valeree Pieper, John Weigandt, John Antonin Dieter, Callen Brown, Mark McGinn, David Miller, and Tom Naab in UrinetownUrinetown is one of my top-five-favorite musicals, due to the many songs with memorable, singable melodies by composer/lyricist Mark Hollmann and lyricist Greg Kotis, as well as Kotis' sharply funny, self-referential book. Unfortunately, I was almost immediately disappointed with Quad City Music Guild’s production of the show during Wednesday’s final dress rehearsal, because the first full minute of director Heather Beck’s staging had the ensemble cast frozen in place (and for what actually felt like two to three minutes) during the overture. Yet while my heart sank seeing this dull, uninteresting start to such a creative piece of musical theatre, thankfully, once the overture ended, I wasn’t disappointed at any other point during Music Guild’s presentation.
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Who's the Boss?: "9 to 5: The Musical," at the Prospect Park Auditorium through August 18
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2013-08-12 12:00:00

Kelly Thompson, Dolores Sierra, Katie Casey, Valeree Pieper, and Shana Kulhavy in 9 to 5: The MusicalQuad City Music Guild’s production of 9 to 5: The Musical is flat-out fun, with loads of laughs and major amusement delivered throughout the two-and-a-half-hour presentation. Friday’s performance, for me, was one of the most enjoyable stagings of the summer, with exceptional performances from the musical’s three main actors as well as several supporting cast members. The pit band, under the music direction of music Gregg Neuleib, didn’t seem to miss a note during their dynamic accompaniment. And Erin Churchill’s peppy choreography seems of a higher level of difficulty than is customary at Music Guild, but in a welcome way, as the show's ensemble proved up to the task. With its perfect pacing and high energy, and under the capable direction of John VanDeWoestyne, I’d say Music Guild has a definite hit on its (stage)hands.


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Farce of Habit: "Noises Off," at the Richmond Hill Barn Theatre through October 14
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2012-10-08 12:00:00

David Lane, Molly McLaughlin, and Stan Weimer in Noises OffAs much as I love theatre-in-the-round, I recognize that not all plays work in a 360-degree environment. Take, for instance, Noises Off, the current offering at the Richmond Hill Barn Theatre. A farcical comedy about the staging of a play (within the play) titled Nothing On, the show's second act offers, essentially, a view of the first act’s goings-on seen from backstage, and the production’s set is typically turned 180 degrees during the intermission to allow for that behind-the-scenes look. Consequently, prior to Thursday's performance at the Barn, I was baffled as to how director Jalayne Riewerts would pull off, in the round, this production of author Michael Frayn’s farce. She does it, it turns out, by not staging the piece in the round.


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