17
Nov
2015
At a time when current events make the world seem very dark and sick, the holidays remind us to reminisce with old friends, break out the carols, and bake a batch of Grandma's legendary cookies. One recipe to such a cruel world can be found in the District Theatre's current production Big Rock Candy Christmas. A sequel to last year's Big Rock Candy Mountain, this Christmas-flavored chapter brings back the same characters from the original with a new mission, new music, and even a few new faces.
Taking The Addams Family as a sign, I'm excited about the District Theatre's future in downtown Rock Island's former Argus building, and while there are still a few growing pains to overcome, the company is clearly off to a good start.
Urinetown 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.
I had high expectations for the District Theatre's musical version of A Christmas Carol, given my knowledge of Tristan Layne Tapscott's and Danny White's talents. But Tapscott's book and White's music and lyrics actually exceeded my expectations during Friday's world-premiere performance, as the two have conceived a musical that I can see being produced by theatres across the country without requiring workshops and major rewrites. While their piece could still use some minor refinement, their version of the story of Ebeneezer Scrooge is remarkable for Tapscott's handling of the narrative, and White's cleverly crafted lyrics and gorgeous instrumentation.
At the start of the intermission to Friday night's District Theatre performance of Company, my partner turned to me and said, "I don't remember this show being that funny." He was right, because director David Turley accentuates the funny parts in this musical by composer Stephen Sondheim and writer George Furth. He does so, however, with subtle nudges and winks that almost cross over into silliness but don't, and that keep the production from sinking into sappy sentimentality.
As if she hadn't already proven so in the previous three hours of Friday's Countryside Community Theatre performance, Christina Myatt left no doubt that she's worthy of the larger-than-life role of Mama Rose with Gypsy's final song, "Rose's Turn."
When the cast for the Harrison Hilltop Theatre's Sweeney Todd: The Demon Barber of Fleet Street was revealed several weeks ago, I'll admit I was concerned. While I'd previously admired the work of most of the actors, I wasn't sure they were up to the tasks of the roles they'd been awarded - chiefly Tom Walljasper, cast as the titular barber. While Walljasper excels at comedic roles, I worried that, with his smirking, tongue-in-cheek style of delivery, he wouldn't be able to carry the dramatic weight of Stephen Sondheim's killer character. But after seeing Thursday's opening-night performance, I'm pleased to admit that I was wrong. Very wrong; Walljasper's ability to handle the role was apparent with the first lyric he sang, which carried with it a dark, sinister, intense appeal.
Sure, it's the Greek tragedy to end all Greek tragedies. But is any stage tragedy, Greek or otherwise, as unashamedly, wickedly enjoyable as that of the fall of Oedipus?
