18
Aug
2014
Shout! The Mod Musical is not only the most tolerable musical revue I've seen to date, but also the most enjoyable. With more substance than The Taffetas and less forced plot than The Marvelous Wonderettes, this girl-group celebration of 1960s songs is both cohesive and a whole lot of fun, especially given the Timber Lake Playhouse's current staging of it.
Church Basement Ladies is a show I'd love to be hateful towards, because it sort of compresses everything I don't traditionally enjoy in musical theatre into one convenient package, and because its four-nonsecular-girls-and-a-guy conceit is such a blatant ripoff of those pitiful sequels to Nunsense, in which creator Danny Goggin decided to spice things up by adding a man to the mix. (I'd call Church Basement Ladies an unapologetic ripoff, except we Lutherans are apologetic about damn near everything.)
No one in his or her right mind could possibly think that the Elvis Presley pastiche All Shook Up, the new presentation at the Timber Lake Playhouse, is a stronger piece of theatre than West Side Story or You Can't Take It with You, the first two presentations in the venue's 2008 season.
Certain theatrical works are so inherently satisfying that they're pretty great even when their productions are only pretty good, and some are so firmly entrenched as classics that nothing less than spectacular will do. West Side Story is the rare piece that's actually both - a thrilling entertainment that many of us have seen way too many times - and the Timber Lake Playhouse's West Side Story is both, as well; it starts out as pretty good passing for pretty great, and ends up spectacular. By its finale, director James Beaudry's offering had morphed into one of the smartest, most impassioned versions of this legendary Bernstein/Sondheim/Laurents collaboration I've yet seen. It just took a while to get there.
You might think it odd that, for its penultimate summer production, the Timber Lake Playhouse is staging Irving Berlin's White Christmas, thereby celebrating the holiday season a good two or three months before the malls will. But the actual presentation turns out to be stranger still. Not only are you getting White Christmas here, you're getting three or four different White Christmases; the results aren't bad, necessarily, but the show winds up feeling a bit like the Bing Crosby classic as co-directed by Michael Curtiz, Tommy Tune, and Rip Taylor.
The Timber Lake Playhouse's production of Bat Boy the Musical features a cast of 15 playing some two dozen characters, more than a fifth of whom will be dead by the curtain call. Necks are bitten, throats are slashed, overdoses are administered, and through it all, Bat Boy's performers look as though they couldn't possibly be having more fun. En masse, Timber Lake's ensemble just might compose the happiest musical cast I've seen all year, and considering the material they're working with, and the director they're working for, how could they be anything less?
Watching the cast perform in the Timber Lake Playhouse's production of The Best Little Whorehouse in Texas is like witnessing a mass exodus on the last day of the school year; the actors appear so excited about their newfound freedom that they can barely contain themselves.
In the second act of the magnificent musical parody Urinetown, the character of Bobby Strong - a novice revolutionary, and the show's ostensible leading man - sings "Run, Freedom, Run," a rousing call-to-arms to his fellow oppressed. The number, a sort of "Sit Down, You're Rockin' the Boat" from Guys & Dolls as seen through a Les Miserables filter, is one of those guaranteed show-stoppers designed to leave audiences cheering. At the Timber Lake Playhouse's Saturday-night performance of the show, however, this production number led to something even more thrilling.
From the Quad Cities, a trip to the Timber Lake Playhouse will take roughly 80 minutes. But I was so happy to be returning to Mt. Carroll, Illinois, for its 2006 season opener, Thoroughly Modern Millie, that I don't think I stopped smiling once during the entire trek. The theatre's 2005 presentations of The Full Monty and The Hunchback of Notre Dame were, for me, two of last summer's absolute high points - both shows beautifully staged and refreshingly risky - and the venue itself, nestled in the woods, is large and inviting, with its productions boasting terrific design and costumes and a game, go-for-broke ensemble. It was a thrill to be returning after 10 months.
