Everyone loves “holiday fluff,” right? You know – that oddly concocted mixture that your crazy aunt brings for the holidays each year combining Cool Whip, pistachio pudding, marshmallows, crushed pineapple, and walnuts (or not), with cherries on top? Admit it. It’s the perfect little taste of sweetness on a plate otherwise full of more savory dishes.
The Circa '21 Dinner Playhouse is now serving its own version of holiday fluff. No, not on the buffet menu, but rather in the form of its musical Holly Jolly Christmas, which isn't really a musical so much as a musical revue. There's no real story or character development. You won’t see the duality of man in an Ebenezer Scrooge figure or an “If only I would have …” scenario played out by a George Bailey type. In fact, you won’t see anything remotely resembling a plot. What you will find is a Branson-style revue that utilizes the talents of an extremely gifted cast in spite of Ty Stover's exceptionally weak script.
Our audience hadn't even realized the play had started.
Let’s get this out of the way: In case you're attending to specifically hear “Music of the Night” or other well-known tunes, the current production of the Circa '21 Dinner Playhouse's Phantom is not Andrew Lloyd Webber's more famous version of the same story. Comparing Phantom to Webber's The Phantom of the Opera is like comparing a croissant to an éclair. Both are French, textured, and rich with flavor, but also two totally different experiences.
At this time of the year, many people enjoy celebrating Halloween by being creeped out of their minds. Some enjoy cheesy slasher movies while others like to binge on The Walking Dead, and some religiously attend local spook houses such as Rock Island's Skellington Manor. Yet the most haunting, and even the creepiest, experience I have had in a long time happened at Augustana College's latest theatrical exploration of social justice: Machinal.
The plot twists and turns, or lack thereof, are visible from a mile away in the Circa '21 Dinner Playhouse's production of Route 66. This boy-meets-girl musical has few surprises, and the outcome is abundantly clear from the moment Erin Churchill's aspiring writer Liz meets Kenton Fridley's freewheeling photographer Drew; they're like oil and water, but you know they're going to blend in the end. Even so, Circa '21's romantic comedy is a delight, boasting endearing charm in spades and one catchy tune after another.
The Circa '21 Dinner Playhouse's production of Boeing-Boeing is a colorful rendition of French playwright Marc Camoletti's classic farce - and that's just the set and costumes. Scenic designer Susan Holgersson's and costume designer Gregory Hiatt's combined use of bright primary and secondary colors is stunning, with Holgersson's seven-door set providing delight even before the opening of this comedy's proverbial curtain.
How long does it take for an area production to become legendary? In the case of the Circa '21 Dinner Playhouse's How I Became a Pirate, I'd say about one week, because after the show's debut staging in 2013, that's how long it took four adult patrons, individually, to tell me it was maybe the best family musical they'd ever seen.
There's an effervescent joy permeating the Circa '21 Dinner Playhouse's The Sound of Music from beginning to end - minus the Nazi involvement, of course. Director/choreographer Jim Hesselman's production exudes an infectious glee that, for me, lifts this Rodgers & Hammerstein classic to new heights of performance pleasure. And as Hesselman must know that audiences take great delight in its composers' cherished musical and remember it fondly, he plays to those happy memories.
Director Jennifer Popple's decision to set her Augustana College production of As You Like It in the 1960s is one of the most appropriate changes in time-setting for theatrical material I've yet witnessed. Such shifts sometimes seem gimmicky, or are better in concept than execution, but here it works, and works well.
