MOTOWN THE MUSICAL

Mo' money, mo' problems...Motown. The famed lyrics sums up the rise of Detroit's grassroots music scene, retold in Broadway musical form as the story of one man's dream. Founder Berry Gordy's journey in the entertainment business started with a desire to write songs and grew into a recording label as he launched careers of some of most iconic African American performers of the time.
 

Photo by Joan Marcus, courtesy of Broadway in Cincy

Motown The Musical captures every toe-tapping detail of Gordy's rise and inevitable fall as he competes with corporate record labels. The fast-paced timeline progresses with songs from the eras, such as early hits from Smokey Robinson, The Temptations, and Marvin Gaye. We meet the Supremes during their high school days, croon with a young Michael Jackson and Stevie Wonder; all who got their start in a Detroit studio known as Hitsville U.S.A.
 

Berry Gordy and Diana Ross
Photo by Joan Marcus, courtesy of Broadway in Cincy

With success comes trials, as competitors inch in on Gordy's talent, and romantic relationships blossom within his close-knit collaborative.

The Supremes
Photo by Joan Marcus, courtesy of Broadway in Cincy

As a fan of the Motown sound, the Broadway cast reenactments of musical legends were spot on -- from appearance to rafter-shaking vocal talent. I particularly enjoyed Reed Shannon, a teenager who owned the roles of young talent that Gordy shaped. While rockin' with the Jackson 5 hit "ABC," his song mastery shined during the audition scene where Shannon belted out a heartfelt "old soul" ballad as Michael Jackson.

Jackson 5
Photo by Joan Marcus, courtesy of Broadway in Cincy

Motown The Musical does a fantastic job of telling the whole story of how Gordy's Motown label pioneered African Americans into the popular music scene. If you're curious on learning about the backstory, a hardcore Motown fan, casual listener, or simply enjoy a musical with a solid story and all-around powerhouse cast -- this show is for you!

Motown The Musical runs through September 20, 2015 at The Aronoff.

I LOVE LUCY AT THE ARONOFF

I've got some 'splainin to do about this awesome Broadway rendition of I Love Lucy!

Enter the Aronoff. The audience was a mix of both young people and age-old fans -- proof that Lucy continues to be a timeless classic. Plenty of people were dressed in Lucy-similar fashion: bright dresses, pinned up hair, and ruby red lips. It was a fun touch to see people showing their excitment for the show in their fashion choice.

Now, I'm a casual Lucy watcher. I wouldn't be savvy at trivia, but enjoy the plotlines and humor. My friend Allie accompanied me; she's a hard core fan. Both of us were heartily entertained by the non-traditional musical. Going in blind, I thought I Love Lucy would be one of those recreations of a star's career, similar to Million Dollar Quartet or Ring of Fire. Lucy is not one of those musicals.

Curtains up! The audience became a live studio audience as 1950s television cameras panned around the stage, makeup and wardrobe artists fluffed and primped the talent, painting a glimpse into what a real, live I Love Lucy production would look like. With more acting than singing, the cast "broadcasts" two episodes with all your favorite antics: trips to the doctor, Club Babalu, ukeleles, and your favorite supporting cast members: Ricky, Ethel, and Fred.

Leads Thea Brooks, Euriamis Losada, Kevin Remington and Lori Hammel do a smashing job of embracing their characters, including look, voice, and quirky mannerisms. With plenty of hilarity, an occasional tune, and (my favorite part of the show) the old-timey advertisement jingles for products such as Brylcreem, Alka-Seltzer, Mr. Clean, and "See the USA in your Chevolet!" everyone can find enjoyment in falling in love with Lucy all over again.

I Love Lucy runs at The Aronoff through June 14, 2015.

CINDERELLA AT THE ARONOFF

I can't resist a musical with a strong female role model. (Wait, are we are talking about Cinderella here, right?) Most of us remember the princess fairytale starring the downtrodden delicate flower trapped under the thumb of her wicked stepmother, who by a chance of magic, meets Prince Charming who whisks her away from a life of servitude. The moral: girls, you too can become glamourous royalty if you're helpless, blonde, and have petite feet. That Cinderella is so 100 years ago.

Prince Topher and Cinderella
Courtesy of  Broadway Across America

Broadway in Cincy introduces us to the modern Cinderella, Rodgers and Hammerstein's version, who is a refreshing update of a self-assured woman. Cinderella knows grit, but she's also a self-educated community activist. Her stepmother, Madame, and stepsister Charlotte are still both hair-raisngly wicked, but her other stepsister, the timid Gabrielle, becomes Cinderella's confidant. There's plenty of bippity-boppity-boo, pumpkins, and glitz from the traditional story, but this time it's not all about a glass slipper. Cinderella is tasked with convincing the Prince that there is corruption in his court and the poor are being robbed of their land. Now how's that for a plot transformation? R+H do a fantastic job of adding personality and depth to the two-dimensional storybook characters of yesteryear and develop a plot that will keep audience of all ages engaged and intrigued.

Cinderella, Madame, and stepsisters Gabrielle and Charlotte.
Courtesy of  Broadway Across America

Step-sister Charlotte and the ensemble fuss over shoes.
Courtesy of  Broadway Across America

Cinderella, played by Paige Faure (an awesome name for a leading lady, if I may say so myself) woos the audience with her graceful vocals; keeping Cinderella elegant while daring to chase her dreams. My favorite was easily Kecia Lewis, who plays the fairy godmother. She flies, has rafter-shaking vocals, and comes brings an assortment of visual magic on stage.

Kecia Lewis and Paige Faure in Cinderella.
Courtesy of  Broadway Across America

The behind-the-scenes folks go above and beyond for Cinderella, with elaborate costume changes and pumpkin carriages morphing right before your eyes. The effects will leave even the most analytical-minded adults wondering "How did they do that!?"

Cinderella's pumpkin carriage is... magical.
Courtesy of  Broadway Across America

Rodgers and Hammerstein's Cinderella runs through January 18, 2015 at The Aronoff.

DRIVING MISS DAISY AT THE CARNEGIE

From stage to screen to stage, The Carnegie presents the tale of the legendary Southern belle who wouldn't let age or changing times stand in her way. Driving Miss Daisy begins in 1948 Atlanta, Georgia, with 72-year-old Daisy Werthan returning home after totaling her second car in a matter of weeks. Too old to drive and too big of a risk for the insurance company, her son Boolie takes away Daisy's keys and hires a chauffeur: Hoke, an African American who previously worked as a driver for a judge.

Photo provided by The Carnegie, Mikki Schaffner

If you haven't seen the movie, you can probably tell where the plot is going: The South, Civil Rights era, an affluent white woman's independence now intertwined with a black man's career. Whether it was prejudice or stubbornness on accepting her age, Miss Daisy and Hoke get off to a rough start. Determined and optimistic, Hoke makes the best of the situation no matter how fussy Miss Daisy becomes. From trips to the Piggly Wiggly to longer journeys visiting relatives out-of-state, the pair form an unlikely friendship over the course of the next 25 years.

Photo provided by The Carnegie, Mikki Schaffner

Differing from the silver screen, The Carnegie interprets the most meaningful scenes from the film into a fast-paced 90-minute show. There are some significant plot points left out due to having a working cast of three, but the story comes together just as easily without. One thing I enjoyed was how the actors referred to different neighborhoods and streets in Atlanta, perfect to create a visual for anyone who has traveled there. Little Five Points? That's where you can grab a burger and beer at The Vortex. Forsyth Street? The new Atlanta Streetcar route crosses there. Small details like this gave the play a down-home feel; something that the film version overlooked.

Photo provided by The Carnegie, Mikki Schaffner

A simplistic set and minimal cast, The Carnegie pulls off an entertaining show without all the bells and whistles. Miss Daisy is portrayed by Dale Hodges, Cincinnati's Jessica Tandy. I've seen her in many roles as an older woman and she does a magnificent job whether tugging at the heartstrings or being a feisty curmudgeon. As Miss Daisy, she flawlessly pulls off both. Reggie Willis would make Morgan Freeman proud in his role of Hoke, who openly conveys the difficulties of being a black man in a white man's world. Likeable, honest, and loyal, Willis's character provides a stark contrast to Boolie, played by Randy Lee Bailey. The successful son at his wits end with his aging mother, Bailey delivers a strong supporting role showing that compassion makes a stranger more relatable than kin.

Driving Miss Daisy runs through Nov. 16 at The Carnegie in Covington
7:30 p.m. Friday and Saturday, 3 p.m. Sunday. Tickets are $25 adults, $18 students.
859-957-1940 and www.thecarnegie.com

WICKED AT THE ARONOFF

The Aronoff Center is going Ozmopolitan with a two week long run of WICKED, America's favorite Broadway musical. (Really! It's been the highest in the nation for ticket sales this season.)

A prequel to The Wizard of Oz, the show opens with the celebration of the Wicked Witch's death as the people of Munchkinland ask about the cause of wickedness:  "Are people born wicked? Or do they have wickedness thrust upon them?"

Glinda the Good Witch and Elphaba, the Wicked Witch of the West
Photo courtesy of Broadway Across America

This question resonates as we journey back to the formative years of the citizens of Oz, leading with the Wicked Witch of the West and the Good Witch, known then as Elphaba and Glinda. In two contrasting roles, Glinda shines as the perky, popular blonde while Elphaba is the brooding intellectual who has harnessed magical powers. The two bond as frenemies as we learn how there's more to Elphaba and the flying monkeys than what meets the eye...and that the Wizard may not be all that wonderful after all. Chocked full of delightful hilarity and plenty of references to the 1939 film, WICKED presents a highly imaginative backstory to The Wizard of Oz with a soundtrack you'll be immediately downloading to your iPod.

Young Elphaba and Glinda at university
Photo courtesy of Broadway Across America

Having seen WICKED four times plus Idina Menzel's solo tour (Idina was the original Elphaba), I've learned most of the songs by heart, if not most of the dialogue too. Each national tour has unique performers creating subtle differences for every bi-annual show. It's exciting to see the rotating actresses' take on Elphaba and Glinda; the chemistry, the demeanor, and the vocal range of their songs.

Elphaba performs the showstopping number: Defying Gravity.
Photo courtesy of Broadway Across America

Now I don't expect everyone to hit that eighth octave in Defying Gravity; not even Idina herself can sing that note anymore. What I do expect is consistency. While all of the songs had their strengths, there were often moments where both Glinda (Gina Beck) and Elphaba (Alison Luff) were channeling William Shatner, speaking certain lyrics that should be sung or singing at a slower tempo.  For a fanatic of the musical like me, it noticeably changes the feel of the original songs. Both Beck and Luff are talented, but not my first choice for the stars of WICKED. Their style would work best in a rock musical, like Broadway's Ghost or Flashdance. It's WICKED. Everyone's looking forward to an Idina Menzel-esque experience. Don't reinvent the wheel. What do you think? Do you hear a difference between 2011 Elphaba and 2014 Elphaba?

Elphaba flies high above the stage during Defying Gravity; the song with the eighth octave and one of my personal favorites
Photo courtesy of Broadway Across America

Fastidiousness aside, WICKED is definitely worth going to see for the plot alone; one of the most clever and detail-oriented with little twists in the story in every act. I could gaze at the set for hours to be mystified by the intricate craftsmanship that creates a majestic steampunk theme. The costumes are just as gorgeous: from tiny hats to bold-colored, old timey wingtip boots, ladies, you'll be wondering where you can purchase a pair for yourself.

The fashionable people of Oz
Photo courtesy of Broadway Across America

Considering going to WICKED for the first time? Do it. You'll have a blast. This is also the perfect show to introduce someone to Broadway who has never been to the theatre before. It will steal their heart and create a lifelong fan. WICKED was my first Broadway show and I'm still head-over-ruby heels for it. As for repeat hardcore fans, you should go and see it too. Just know going in that the songs may differ. If all else fails, you can always help out by singing along ...because every voice deserves a chance to fly.


WICKED runs at The Aronoff through March 23, 2014.

Need tickets? Follow the instructions below to take part in the WICKED lottery to win a pair of orchestra seats for only $25 each!

AROUND THE WORLD IN 80 DAYS

Quite possibly the most elaborate and entertaining show to hit Ensemble Theatre this year, Around The World In 80 Days takes the audience on an exotic journey with a story told through song.

Photo courtesy of Ensemble Theatre

 

Set in 1899 in London, England, the precisely punctual and clever Phileas Fogg wagered his life savings on a bet that the world was able to be circumnavigated in 80 days. Between boarding trains and steamships, Fogg and his witty French butler, Passepartout, dodge bandits, stampedes, and the thick of the jungle all while being pursued by the British police. Will the race against the clock defeat them from a timely journey to win their bet?

Photo courtesy of Ensemble Theatre

The largest cast to take stage at the Ensemble in recent years, 17 actors filled the intimate stage with the grace and grandeur of a national Broadway show. Familiar faces return from past shows, including powerhouse vocalist Torie Wiggins and her co-star Annie Fitzpatrick from Black Pearl Sings. In a vast contrast to the solemn production of The Whipping Man, lead actor Ken Early delighted the audience with his portrayal of Phileas Fogg, who was filled with optimistic perseverance.

Photo courtesy of Ensemble Theatre

The incredible interchangable set design transformed into a matter of moments creating vehicles from hot air balloons to trains, ships and elephants. In addition to the actors, puppeteers were incorporated as animals in a variety of scenes. Some of my favorite moments were those that involved audience participation as well as the subtle humor slipped in about Cincinnati's current transportation issues. At several points in the play, characters quipped at "reliable American rail transit" and also rode a train that stopped only halfway to their destination due to the track ending abruptly.

Photo courtesy of Ensemble Theatre

Of course, it wouldn't be a musical without claiming a favorite song. Torie Wiggins, who played supporting character Aouda, a rescued Indian princess, performed a soulful and inspiring "Strong Wind, Strong Woman" as she intuitively guided a sailboat for a nearly defeated Phileas Fogg.

Photo courtesy of Ensemble Theatre

Around The World In 80 Days was one of Ensemble Theatre's first commissioned musicals, with its last performance taking place 13 years ago. Cincinnatians will have many opportunities to catch this much-anticipated show, with over 30 evenings of performances scheduled between now and January 4, 2014. 

GRINCH: THE MUSICAL AT THE ARONOFF

A holiday classic, How The Grinch Stole Christmas turned Broadway musical stars as the seasonal show at the Aronoff. The adaptation of the Dr. Seuss book was rumored to be similar to the animated story, but instead delivered like the Jim Carrey movie. If you're a fan, you'll enjoy this version too.



Photo courtesy of Broadway Across America

The story features the scheming Grinch who has "a heart two sizes too small" and a strong dislike of Christmastime. In an attempt to thwart the festivities, the Grinch steals Christmas away from the holiday-loving Whos. Complete with candy-colored yuletide costumes and cartoon-like choreography, Grinch: The Musical is a special way to start off the holidays with your family.

Photo courtesy of Broadway Across America

Most definitely a family-friendly show, this may be a good time to suggest an "Adults Only" section at the Aronoff, similar to sections at the movie theatre that are designated for age 21+. Watching the Grinch parade around stage brought back fond memories of my youth. However, it was the child sitting behind us that was the true Grinch of the show, whose behavior distracted from becoming immersed in the story.

Photo courtesy of Broadway Across America

Fortunately, Grinch: The Musical is familiar enough to follow along. If you're an adult looking to reminisce with the show, consider splurging on some of the pricier seats, which tend to have fewer families with small children.

Grinch: The Musical runs at The Aronoff through December 1, 2013.

BOEING BOEING AT THE CARNEGIE

Quite possibly the most humourous play you will see all year, Boeing Boeing at The Carnegie in Covington will keep you flying high with laughter. Set in 1965, Parisian bachelor Bernard is engaged to Gloria. And to Gabriella. And to Gretchen. All three ladies are beautiful flight attendants hailing from the United States, Italy, and Germany. Each have regular layovers in France, precisely enough that has allowed Bernard to juggle three women without them finding out about one another.

But when Boeing invents a faster aircraft engine and all three fiancees return home on the same evening, it leads to a series of slamming doors, hidden women, and nick-of-time maneuvers as Bernard tries desperately to save his perfect bachelor fantasy.

Caught in the midst of Bernard's lovelife are his traditional-valued friend visiting from Wisconsin and Bernard's cratchity French maid. Both become wound up in the lies and have very different ways of handling the revolving doors of women.

 

Boeing Boeing is a delightfully hilarious play that caters to all types of humor: from clever to crass, there's a character for everyone. Men will give this their stamp of approval, so if you've been looking for the perfect show to get your mate interested in theatre, this is it!

Boeing Boeing runs through November 24 on Friday and Saturday evening at 7:30 p.m. and on Sunday at 3:00 p.m. Tickets are only $24.00.

FLASHDANCE: THE MUSICAL

The latest musical to take the stage from Broadway in Cincinnati defined a generation in 1983, and led me on a trip to Target to purchase some bright colored leggings then plan a  weekend roadtrip to Pittsburgh.

Photo courtesy of  Broadway Across America

With electrifying dance at its core, Flashdance: The Musical tells the inspiring and unforgettable story of Alex Owens, a Pittsburgh steel mill welder by day and a bar dancer by night with dreams of one day becoming a professional performer. When romance with her steel mill boss threatens to complicate her ambitions, Alex learns the meaning of love and its power to fuel the pursuit of her dream.

Photo courtesy of  Broadway Across America

Fueled with all of your favorite songs from Joan Jett, Hall & Oates, as well as its iconic number "What a Feeling,"  Flashdance will have audiences reliving a youth of the vibrant 80s. My favorite song was the powerhouse "Manhunt," which created a visual montage of Alex and the romantic gestures of her boss. Can she be both a lover and a star?

Photo courtesy of  Broadway Across America

Rare in theatrical form, Flashdance is one of the few musicals that showcases a strong, independent female lead character. See it for the tunes, or see it for the plot; either way, this show will leave lasting impressions.

Photo courtesy of  Broadway Across America

Flashdance: The Musical runs through November 10 at The Aronoff.

GHOST: THE MUSICAL

Broadway season kicked off Tuesday night at The Aronoff with Ghost: The Musical. Based on the 1990 romantic drama film, the live adaptation is new to the theatrical scene after opening in Manchester in 2011.

As someone who had not watched the movie, the musical version was easy to follow without prior knowledge of the plot. The story revolves around two lovers in New York City: Sam, an executive banker, and Molly, a bohemian artist. On their way home, the couple is attacked and Sam is killed. Caught in purgatory after his death, Sam learns that Molly is in danger and connects with psychic Oda Mae Brown to warn her.

Photo Credit: Broadway Across America

 
Flashes and flare throughout the production gives Ghost a modern edge over traditional, long-running musicals. Digital backdrops and illusions of the eye make the show a multi-sensory experience, leaving the audience wondering, "How did they do that?" Optical magic happens throughout the show, including Sam walking through a closed door, objects flying off the shelves, or a piece of paper folding itself.

My favorite song was "More" which involved the ensemble's portrayal of the bustling Financial District; a juxtaposition of dancing suits. There were also two scenes where Sam interacted with a ghost on the subway. I was astonished how the digital set created train cars that the actors could board and also made it look like it was moving at full-speed along the rails.

Photo Credit: Broadway Across America

For those who have seen the movie, you may recall that Oda Mae Brown was originally portrayed by Whoopie Goldberg. While these are some epic shoes to fill, the musical's actress, Carla R. Stewart, stole the show. Her over-the-top performance and raw, soulful vocals create the favorite character that heightens the entertainment in a Broadway show.

Photo Credit: Broadway Across America

Whether or not you remember the movie, Ghost: The Musical impresses with a fresh, tech-savvy showcase of Broadway.

Ghost: The Musical runs through October 6 at The Aronoff.

CHICAGO AT THE CARNEGIE

Covington returns to its days of debauchery as The Carnegie stage lights up with Broadway's longest-running musical: Chicago. Set in the Windy City during Prohibition, the story presents a satire of corruption in the criminal justice system and the concept of the "celebrity criminal."

Photo by Mikki Schaffner, The Carnegie

Chicago follows the story of Roxie Hart (Leslie Goddard), a married 20-something who murders the salesman she is having an affair with. Upon entering the Cook County Jail, Roxie is introduced to the other women who are incarcerated for murdering their lovers. Velma Kelly (Kimber Elayne Sprawl), the jailhouse favorite serving time for homicide, introduces Roxie to the world of the celebrity criminal all while becoming her biggest adversary. The black widows aggressively pursue the limelight as to who can get the most newspaper coverage, best lawyer, and the most lucrative Vaudeville opportunity awaiting them after prison...that is, if they can avoid the death penalty.

Photo by Mikki Schaffner, The Carnegie

Combined with a cast of characters from the corrupt guard,  Matron Mama Morton (Angela Nalley), to the showboating lawyer Billy Flynn (Dan Doerger), and appearances by Roxie's pushover husband, Amos (Randy Bailey), Chicago is a comedic tale of cunning, ingenuity, and the business of betrayal.

Immediately recognizable were the powerhouse vocals from local Broadway favorite, Leslie Goddard, who also portrays Missy, the lead in Ensemble Theatre's The Marvelous Wonderettes. Kimber Elayne Sprawl is not to be outshined as her soulful sass rippled through the audience from opening number "All That Jazz" to the final curtain. Speaking of shine, Reporter Mary Sunshine portrayed by supporting actor Sean P. Mette left the audience raising a gender-questionable eyebrow as the hefty Mette belted out high-pitched opera-like vocals for his female character. 

Photo by Mikki Schaffner, The Carnegie

Photo by Mikki Schaffner, The Carnegie

In addition to the feathers and fishnets, my favorite scene was the ventriloquist act for "We Both Reached For The Gun" as Dan Doerger’s Billy Flynn puppeteers Roxie while manipulating the reporters with a sympathetic alibi. As for Flynn, well, we couldn't help but wonder two things:
1.) Did he remind anyone else of a prominent Cincinnati lawyer?
2.) Where did he get that sleek red suit?

Photo by Mikki Schaffner, The Carnegie

Photo by Mikki Schaffner, The Carnegie

 
Pulling out all the flares of Vaudeville, the inner workings of a cell block never seemed so glamorous.
Tickets for Chicago are only $26.00. The show continues through August 25 at The Carnegie.

Photo by Mikki Schaffner, The Carnegie