02
Dec
2013
Female fans of princesses will likely enjoy the Circa '21 Dinner Playhouse's children's-theatre holiday offering A Fairy Tale Christmas. Thanks to the always-impressive costume designer Gregory Hiatt and actors Cara Chumbley and Kelly Ann Lohrenz, respectively, Cinderella and Snow White each bear striking resemblances to their characters' Disney designs. Despite slight variations in style, Hiatt's costumes are remarkable re-creations of the most well-known looks for the two princesses, and Chumbley and Lohrenz amusingly mimic the fluttery voices and laughs of the storybook ladies.
There's magic in the Circa '21 Dinner Playhouse's A Christmas Story: The Musical, most notably in the fantasy sequences and any scene involving the children's chorus. Adapted from the much-loved 1983 movie, this stage musical is familiar without being an exact copy, making it a fresh take on the holiday-tradition entertainment. Plus, the musical numbers, by composers and lyricists Benj Pasek and Justin Paul, add a lot of fun to an already laugh-worthy tale.
The Circa '21 Dinner Playhouse's Things My Mother Taught Me, which is about a young New York couple moving into a new apartment in Chicago, is one of those plays that requires patience, as the first half of the first act takes a while to get on its feet and bring in the humor. While Brad Hauskins' Polish building superintendent Max elicited hearty laughs during Friday's performance through the actor's adept comic delivery and (eventually overused) "Uh-oh"s, not much else, early on, was all that effectively funny. Until, that is, the parents of the cohabitating Olivia and Gabe arrived, at which point it was clear that director Warner Crocker's pacing for the rest of the show was going to be remarkable, and the comedic chaos amplified by the play's four parents fussing over their children.
With its charm, high spirits, optimism, and infectiously fun tunes selected and arranged by Steve Przybylski, there's a wonderful specialness to playwright Warner Crocker's Southern Crossroads. And in the Circa '21 Dinner Playhouse's current production of the show, what's particularly special about what is already a good musical has a lot to do with director Curt Wollan's cast members, who have an apparent love for the material and exude a palpable enjoyment in their performance of it. This piece transcends traditional musical theatre in a way that's all too rare, pulling in its audience through a spell of song and hope.
Costume designer Gregory Hiatt's creations for the Circa '21 Dinner Playhouse's family musical Click, Clack, Moo: Cows That Type were, for me, the highlights of Saturday morning's performance.
While I have no doubt that women who've experienced "the change" - and the men who've experienced it with them - will better appreciate the humor in the Circa '21 Dinner Playhouse's latest, Menopause: The Musical offers a lot of entertainment that transcends that particular life experience. Filled with comically altered lyrics of popular, mostly 1960s songs, the familiar melodies, energetic rhythms, and notable performances from the cast of four had Friday's audience on its feet at the end of the production.
While I've loved every children's production I've reviewed at the Circa '21 Dinner Playhouse, How I Became a Pirate marks the first in which I wish I had the soundtrack to enjoy with my partner's nine-year old daughter Madison on our way to and from school each day. With music and lyrics by Janet Yates Vogt and Mark Friedman (both of whom also wrote the musical's book), the songs are worth revisiting for their singable melodies and enjoyable styles, particularly the calypso numbers and a speedy, staccato, complexly rhymed nod to Gilbert & Sullivan's "I Am the Very Model of a Modern Major-General." After Saturday's performance of the show, in fact, Madison and I were singing lyrics from several of the songs on our car ride home, which I hope suggests how fun and memorable they are.
Brad Hauskins elicited the largest laughs during Friday's performance of Spreading It Around at the Circa '21 Dinner Playhouse, starting with the moment he first walked onstage with his frozen-hip shuffle. His psychologist character Dr. Ward doesn't actually appear until the middle of the second act of this comedy, which concerns the efforts of the widow Angie to share her wealth (and that of her fellow retirees) with those in need, rather than leaving it to their ungrateful children. But with little stage time, Hauskins squeezes out every ounce of comic possibility from his role, relishing his awkward pauses, and dryly delivering his lines with the slightly high-pitched, mildly shaky voice stereotypical of the elder person he's portraying.
Genesius Guild
It doesn't feature a question mark, but the Circa '21 Dinner Playhouse's Whodunit... the Musical may still not have the right question in its title; after viewing Saturday's performance, I was instead asking myself, "What is it?" The show's book, for the most part, is a straightforward murder-mystery, the majority of its songs make for a bright and cheery musical, and the climax and dénouement are straight out of drawing-room farce. It's an identity crisis bigger than the mystery afoot in the show's plot.
