Show & Tell Review: Billy Elliot the Musical

Written by Lori

Billy Elliot the Musical opened last night at the Fox Cities P.A.C. The story begins in a small town, in Northern England in 1984. It is raw in language, devoid of color, and fierce with loyalty to the unions that kept the characters alive. 

As described by Director Stephen Daldry, “What appealed to me most about doing the show was to have the opportunity to delve into the miners’ strike. That strike was one of the most important events in my life, as well as in domestic village politics. It’s not possible to exaggerate the cultural flowering that happened during that year in the pit villages. There was a real shift in consciousness for everybody involved in those villages, which is part of the sadness of the whole story. Because something extraordinary happened – and then it was wiped out as they shut down the pits. So we wanted to talk about the community and the family as much as Billy in the musical. The strike bookends the show. The theater lends itself to big, working-class anthems of struggle and loss. You can present that in a much more believable and moving way onstage than on film.”  

“The Stars Look Down” spoke of the emotion of a community facing the loss of everything that defined them. We are brought to the poignant “We’d Go Dancing,” where memories are better than reality in the time of change. As the town demands loyalty to the union, the anger that energizes the strike in “Solidarity” is fierce and in your face. In a community that embraces the harsh, overbearing male role model, with furtive excitement, two boys explore cross dressing in “Expressing Yourself.” Our young star, Billy, shows his sensitivity and heartache of losing his “mum” in “Dear Billy”and his rebellion against his father’s demand that he give up dancing in “Angry Dance." 

The first act made me squirm, yet I was amazed at the talent of Billy played by Ty Forhan. That young man was on the stage most of the time. His every move was portraying the character and emotion of the scene in which he played. His dancing was amazing for one so young. It was fun to see the way Billy’s character was formed through the choreography. From the stressed beginner in over his head at his first dance class, to the passionate dancer at the end, the development of his character shined through. 

Act II begins with “Merry Christmas, Maggie Thatcher,” a rebellion against authority, sung with much profanity and many finger gestures against her rule. Rich Hebert was solid in creating the scene “Deep Into the Ground” and “He Could Go and He Could Shine” as he portrayed a man who learns a heart of understanding towards his son. The choreography was interestingly masculine for the “non dancer” characters. I had never thought of drunken stumbling as a form for choreography. The story of the journey from the beginnings of the British National Union of Mineworkers strike, to the anguish and remorse of becoming a “scab” in order to provide for his boy, was very well told.  

While it was painful to watch the anger and ridicule of his family not accepting Billy’s desire to dance, I was relieved to see the resolution in the second act of Dad deciding to support Billy in his passion. The music defined the emotion of the story. The choreography demonstrated the characters and the story line. Overall, it was an interesting view of community and a family struggling with change.

Show & Tell: Rain – A Tribute to the Beatles

The opening strains of “I Want to Hold Your Hand” at the Fox Cities Performing Arts Center on Friday, May 18, 2012 immediately transported me back to my junior year in college, when the Beatles were just arriving on the scene in the United States. I was serving as one of the two resident assistants on a floor full of freshmen female students. My room was at the opposite end of the hall from the other RA. From a distance, I could hear that song being played over and over and over and over. Carol would sometimes come down to my room to get away from “the song.”

The remarkable tribute group RAIN, composed of Mac Ruffing (Paul), Tom Teeley (George), Chris McBurney (Ringo), and Jim Irizarry (John) are fantastic musicians in their own right; but when they are “channeling” the Fab Four, they are something else. The string of familiar Beatles songs, which I could pretty much sing along with, included: "This Boy," "I Saw Her Standing There," "A Hard Day’s Night," "Yesterday," "Daytripper," "Eleanor Rigby," "Strawberry Fields," "When I’m 64" and "Let It Be." The audience was very participatory with much clapping and singing along, and the energy in the room was absolutely electric. From my vantage point, I could see the main floor audience, often standing and swaying back and forth to the music.

The group made special mention of the “20 and under” fans that were present, and urged them to pass their love of Beatles music along to others in that age group. Many of the rest of us in the audience were there when the Beatles came across the pond, and took the U.S. by storm in the mid-1960s.

After absolutely deafening applause, the group came back out and sang "Hey Jude," then finished up with a heartfelt rendition of "Give Peace a Chance." Special note must be given to Mark Lewis, founder and creative genius behind the group. It’s a night I won’t soon forget, and I find myself humming Beatles favorites as I am writing this.

Show & Tell Review: West Side Story

Transport the classic romance and tragedy of Romeo and Juliet to 1950s New York amidst the rag-tag gangs who clashed over rights to their territory, and you find West Side Story. The association is purposeful, the original creators intended for their story to emulate Shakespeare’s beloved classic.

Last night, West Side Story made its way to the Fox Cities P.A.C. and was warmly welcomed by an eager audience. The cast was superb, the costumes and set were first-class, and the music was outstanding. The Fox Cities was privileged to be presented with an updated version of the classic musical, revived onstage in 2009. This adaptation was Arthur Laurents’ (the author of the book for the original 1957 production) attempt at making the story more modern and authentic. To do so, choreography was slightly modified and more of the script has been translated into Spanish.

The story’s tension was felt as soon as the curtain rose. The story of two conflicting gangs, the Jets and the Sharks, whose rivalry was born not just from wanting control of the same streets, but from the ignorance and racism between Puerto Ricans and Americans in New York at that time, was portrayed swiftly and effectively. The Center’s audience was immediately pulled into the clash and responded with a full range of emotions as well as enthusiastic applause.

Leonard Bernstein's and Stephen Sondheim’s original score is an absolute masterpiece.

When it was first being produced Bernstein was told that West Side Story was an impossible project, that no one would be able to sing the complicated rhythms and wide ranging songs. Not only has that supposition been disproved time and again over the decades, but last night in the Fox Cities Performing Arts Center the current cast of West Side Story demonstrated just how wrong those nay-sayers were. The difficult songs were played and sung masterfully, making it appear to an unsuspecting audience as if this musical’s score were easy and not the truth behind it: that they were performing musical acrobatics.

Tony and Maria, West Side Story’s Romeo and Juliet, portrayed their love story beautifully. During the scene depicting Tony (played by Matthew Hydzik) and Maria’s (played by Evy Ortiz) first meeting, the audience was spellbound, completely drawn into the young couple’s ignited love. As they sang the duet “Tonight” on Maria’s balcony, their immediate and consuming love for each other was practically palpable. Later in the show, when the two were reunited after the Jets and Sharks ill-fated rumble, a spell-binding ballet accompanied their beautiful exchange of “Somewhere”.

Other characters drew strong reactions from the audience as well. Officer Krupke and Lieutenant Schrank (Wally Dunn and Mike Boland) played their judgmental, bigoted parts so well; the audience hated them just as much as the Jets did. Anita (played by Michelle Aravena) on the other hand, pulled on viewer’s hearts as she displayed raw and real emotions when her character was pulled between love for Bernardo, the leader of the Sharks, and a more level-headed understanding of love and life than her cohorts. Anita kept many laughing and crying right along with her through her passionate dialogue and songs telling the tumultuous tale.

Every piece of West Side Story’s presentation enhanced their telling of the romance of Tony and Maria, fixed within the drama between the Jets and the Sharks. The sets effectively created the mood of each scene. The music, both performed to and as background, drew watchers into the emotion of every character. The choreography, most of it unchanged from the original production, was masterful and exact and successfully depicted the abundance of action.

**Spoiler Alert!**

As the musical reached its climax, you could almost feel the audience collectively holding their breath. When Tony sought out Bernardo’s assistant, Chino, in the streets, believing his beloved Maria to be dead, his passionate screams were heart-wrenching. A momentary sigh of relief was felt as Tony spotted Maria, and realized her being shot by Chino was all a lie. And as they ran to each other, the audience gasped as one being when Chino fired his gun, killing Tony in cold blood.

When the musical quickly came to its close on the final scene last night, it was as if the viewers were afraid to move from their seats. The beautiful love story of Tony and Maria, surrounded by tension, and ending in heartache for so many, seemed almost more than they could bear. If you love to be drawn into a story heart and soul, if you don’t mind your laughter being followed by tears; you will love West Side Story.

Parental Note:

Parents should be forewarned that, if this musical were a movie, it would have a PG-13 rating, due to suggestive lyrics, crude gestures, sensuality, and racist slurs. It is much more risqué and provocative than the film version.

Show & Tell: The Flying Karamazov Brothers

Mix a little vaudeville with some Gershwin, Marx Brothers antics, circus acts, and stand-up routine, and what do you get? 


The Flying Karamazov Brothers. Dmitri, Alexei, Pavel and Zissima. In real life, they're known as Paul Magid, Mark Ettinger, Rod Kimball and Stephen Bent. 


Having never seen - or heard of - The Flying Karamazov Brothers (nope, I didn't even see their cameo on "Seinfeld"), I had no idea what to expect from their performance at the Fox Cities Performing Arts Center. I knew they juggled, and that was about it. But, when they started their show with introductions, and then told the audience to stand up and, "Everybody turn around and shake the hand of the person behind you," I knew it was going to be right up my alley. (Note: If everybody turns around to shake the hand of the person behind them, nobody can actually shake hands. It still makes me chuckle.) 


After that I settled in and spent the next hour and a half laughing and turning to my wife to say, "How do they do that?" 


The show is constructed of numerous "scenes" loosely held together by the presenting of the "9 Objects of Terror" that would be juggled as the finale. (Included, among other completely unrelated items, were a meat cleaver, a flaming torch, and a fish.) Emphasized throughout the show was also the connection juggling has with music. Everything from classical piano pieces and ukulele serenades to Lady Ga Ga on the tuba were used during the show. There were also many "scenes" that reminded me of something you would have seen at Stomp!, where the Brothers made percussion "music" using bouncy balls or the bowling pins they were juggling. Many times I found myself tapping my feet along. 


Despite the fact that the show centered around juggling (not what one would necessarily consider a popular or "it" art form), The Flying Karamazov Brothers kept things relevant, up to date, and even local. Throughout the show audience members were encouraged to participate. And at one point, the audience got to bring up items to the stage for Dmitri to juggle. As voted/decided on by applause, the objects ended up being: a pound of butter, a wet bar of soap, and a violin. Dmitri was able to juggle them for 10 seconds. Pretty impressive. 


Along the way, there were drops and small gaffs, but the Brothers worked them into the show. In fact, there were times where it seemed they were intentionally trying to mess with each other with a slightly faster or exceptionally high toss. They even went so far as to explain how, when juggling as a group, they deal with a dropped bowling pin.


Ultimately, the show was a blast. The Flying Karamazov Brothers' goofy, "groan before you start laughing" humor paired nicely with their amazing juggling talent to make a fun, and visually stunning, show. The next time they come back to the Fox Cities P.A.C., I will definitely go see them. And I'll be sure to bring my kids with too.

Show and Tell Review: Cabaret with Karrin Allyson

Jazz aficionados and first-timers alike will fall in love with the liquid gold that is the fingers and voice of Karrin Allyson in Cabaret with Karrin Allyson at the Fox Cities P.A.C.

The cabaret, which became a master class in jazz music and ensemble work, was a fluid piece of live art itself. Allyson and her band mates selected songs from their collection and let the music guide them to moments of improvisation.

It is her range, in musical ability and emotional exposure in every note, that inspired this listener to sit up in her chair and lean just a little closer to the stage, as if knowing Allyson’s music was about to tell a secret.

Allyson and her band (Rod Fleeman on guitar, Larry Kohut on bass and Eric Montzka on drums) invite new listeners into the jazz world with classics from the Great American Songbook and the Great American Jazz Songbook including Paul Simon and Charlie Chaplin. It’s done in a way only brilliant musicians can – by surprising you in their interpretation and arrangement of a song you’ve known your whole life and are already in love with.

Allyson brings an intimacy to her performances that make you feel as if she is in your living room taking requests at your piano.

With a voice with many facets of warmth, rasp and smoothness, Allyson’s most impressive vocal moments of the evening came with her scat performances. Also a skilled musician was Rod Fleeman on guitar who knew how to accompany and highlight Allyson and stand out as a master musician simultaneously.

If you’re a jazz fan, Cabaret with Karrin Allyson at the Fox Cities P.A.C. is a can’t miss. If you’re a jazz novice and remotely interested in music, Karrin Allyson is the perfect artist to wet your feet in the art form. She’ll make you want to dive right into scatting along with her.

Show & Tell Review: Clifford The Big Red Dog - LIVE!

Show & Tell Review: Clifford The Big Red Dog - LIVE!

Clifford The Big Red Dog – LIVE! opened a storybook onto the stage of the Fox Cities P.A.C. and invited the audience to jump on in.

Emily Elizabeth and her big red dog Clifford sang and danced their way into the hearts of this mother’s two young daughters with the aid of brilliant set and lighting design.

The home of Emily and her family was vibrantly and playfully colored like the page in a child’s coloring book – or simply the world as seen through the eyes of a young girl who hopes for nothing more than a dog as her new best friend.

With a multi-talented touring cast of artists playing numerous roles, this show’s artistic triumphs include creating Emily Elizabeth’s world as it would appear to her and to her audience – including my theater companions, my four and three-year-old daughters.

“Her bed has wheels!,” exclaimed one daughter as the other was too transfixed on the luminous lighting design of the scene changes to say a word.

Notable to creating the world of Clifford was the Clifford suit and puppet design by The Puppet Kitchen. Clifford’s love for his new family was felt with every true-to-life scratch and sneeze. The two-man costume created the spring in the step only a new puppy has – even if he is the world’s most giant family pet.

“He’s bigger than even the daddy!,” explained my three-year-old upon witnessing Clifford’s overnight growth spurt.

Clifford The Big Red Dog – LIVE! was an excellent choice as a first staged musical for a four and three-year-old. Appropriate in length, lesson and theatrical wonder, this show stayed true to the Clifford books and movies while finding innovative and creative ways to introduce children to the wonder that is the live performing arts.

During this performance of Clifford The Big Red Dog – LIVE! I saw a marvelous family musical on the stage and witnessed two of my children falling in love for the first time – with the theater.

“I’m clapping so hard,” my four-year old whispered. “I just can’t clap any harder!”

Show & Tell Review: Doubt: A Parable

True to its name, Doubt: A Parable leaves its audience with plenty to think about when the night is over. It’s a simple story with no clear answers. Set in the fictional St. Nicholas Church School, in the Bronx, in the early 1960s, John Patrick Shanley’s Doubt delivers an intense 90-minute story that keeps the audience almost breathless in anticipation of what is to come.

When the iron-fisted school principal, Sister Aloysius, learns from a younger nun and teacher, Sister James, that Father Brendan Flynn has had a one-on-one meeting with the school’s only African American student, Donald Muller, she immediately jumps to the conclusion that Father Flynn’s intentions were less than pure. When confronted, Father Flynn denies any wrongdoing saying that he caught the boy drinking the communion wine and was trying to save him the embarrassment of being removed from the altar boys.

Sister James is relieved by Father Flynn’s explanation and believes him. Sister Aloysius, however, is not satisfied and calls Donald’s mother in for a conference. Donald’s mother reveals to Sister Aloysius that the boy is continuously beaten while at home and expresses her desire to get him through the school year when he will move on to the high school. She begs Sister Aloysius to let him be.

When Father Flynn threatens to have Sister Aloysius removed if she doesn’t back down, she tells him that she has called his last parish and has learned of past infringements. Again, Father Flynn declares his innocence. When she refuses to believe him, Father Flynn calls the bishop asking for a transfer. He receives a transfer and a promotion. Learning this, Sister Aloysius reveals to Sister James that her phone call was a lie, and she is left with nothing but doubt.

Sister Aloysius is not the only one left with doubt. Since no clear answers are given, the audience is left to make its own assumptions. Was Sister Aloysius the iron-fisted, unchangeable cold person we thought she was … or was she a hero, protecting and defending the children in her school? Was Father Flynn the gentle, kind-hearted pastor … or was he a monster and a child molester?

The minimal cast of four is perfectly suited for their roles and delivers the story as if there were dozens of characters in the production. As serious as this topic is, the performance was peppered with small doses of humor that contributed to the believability of the characters. Additionally, the simple set and lack of scenery changes allowed the audience to focus on the story without distraction. The clever use of lighting contributed to the feel of the stage and gave the impression that scenery was changing even when things barely moved.

My initial reaction to this play and its simplistic nature was that it was lacking the “wow” factor. And, if you compare it to a musical like Cats or Phantom of the Opera, I suppose it was. I didn’t leave the Center exhilarated and over stimulated. I left deep in thought – and I’m still thinking about it today. The bottom line is the cast of Doubt delivered a flawless and powerful performance that left me with far more to think about than any other production I’ve seen. The more I think about it, it didn’t lack that “wow” factor. It was there. I just needed to see it for what it was. And, if there is one thing I learned from Doubt … don’t jump to conclusions or make premature judgments.

Show & Tell: Ladysmith Black Mambazo

Their name says it all: the Shabalala’s were destined to sing. If family names speak at all, it’s no surprise that Joseph Shabalala, the founder and leader of Ladysmith Black Mambazo, and four of his sons, followed that path.

In his 52^nd year leading his family and four other members (two of whom are also brothers), Joseph shares his music, culture, and spirituality with the world. Offering audiences the sound of “peace, love, and harmony,” this enlightening troupe arrived this Wednesday at the Fox Cities Performing Arts Center.

Taken from their new album, “Songs From a Zulu Farm,” most songs told stories of life in Ladysmith, the hometown of Shabalala and the namesake of the company. From the humorous story of a pesky ankle-nipping chicken to a prayerful melody to chase away the clouds, Ladysmith Black Mambazo fluently translated South African daily life into infectious a cappella music. Without interference by instruments or distortion of technology, the lucid voice of the Mambazo’s soared with open clarity and honesty. Joseph Shabalala, who writes and arranges the music, also conducted the group, though he shared this honor with Sibongiseni – his youngest son and a relatively recent Mambazo member. Sibongiseni lead with a sincere voice and obvious enjoyment, and his effervescence shone through the music. 

The family aspect of Ladysmith Black Mambazo lent itself well to the dynamic of the group. Even sitting rows away, the seemingly tangible connection between performers radiated from the Mambazo’s synchronized movements and uplifting message of hope. The amalgam of nine individual voices into one deep, sonorous tone filled the theater and enraptured the audience. While the esoteric syllables and interwoven clicks and calls were foreign, the clear spirit and rhythms of each song beguiled listeners of all backgrounds and ages. In addition to the Shabalala’s native Zulu tongue, the Mambazo’s performed in English, from the soothing, “Rain, Rain, Beautiful Rain,” to their famous 1985 collaboration with Paul Simon titled, “Homeless,”both of which were met with glorious admiration by the audience. 

Beyond the earnest message and soulful singing, Ladysmith Black Mambazo offered a performance laced with cheeky shenanigans. Histrionic dancing and playful mockery from all nine performers garnered laughter, cheers, and whistles from the lively audience and displayed the Mambazo’s endearing brotherhood. 

Joseph Shabalala was right. It truly was an experience filled with peace, love, and harmony.

Show & Tell: Ladysmith Black Mambazo

One of the best parts of living in Appleton is minutes from our doorstep my teenage son and I can walk through the doors of the Fox Cities P.A.C. and be immediately transported transcontinentally as we were last night with the South African a cappella sounds of Ladysmith Black Mambazo. Their incomparable, distinctive musical style allowed us to temporarily leave our surroundings and immerse ourselves in a night of song, education, and entertainment.

Last night’s performance combined songs from two distinct South African musical traditions. A majority of the songs came from their most recent album, “Songs from a Zulu Farm,” which the group’s seventy year old founder and lead singer, Joseph Shabalala, drew upon traditional farm songs from his childhood. “Yangiluma Inkukhu” (Biting Chicken) and “Wemfana” (Bad Donkey), among others, demonstrated their playful side with songs dedicated to youthful wonderment of birds, animals and forces of nature. Young and old equally enjoyed the pieces which featured vocalizations of chickens, donkeys and other farm animals amidst chants and call-outs in their signature, multi-layered style. Intermixed with “Songs from a Zulu Farm” album, they performed pieces from the musical tradition they are more notably known for, those of the South African mining song rhythms, like the iconic “Homeless.”

Their music is as organic as that which they sing about. As cultural ambassadors of song, their lyrics focusing on nature, love, and social issues, which transcend cultural boundaries and reminds us beauty exists all around us in the quotidian of life.

As a cappella group, there is nothing to hide behind. They bare themselves to us. My son, a percussionist, was most impressed with the group’s ability to use their voices percussively and in the absence of instrumentation, create it so simply, beautifully and uniquely with clucks, whistles, rhythmic clapping and other tools they have developed over the fifty-two years of making music in a style which is uniquely their own. As they combined their music with traditional dance moves, we marveled at the agility, not only of the younger members, but more impressively, for the members of the group who are nearing their 70s, with their high kicks and dances of athleticism.

What is clear is Ladysmith Black Mambazo has broken, and continues to break, musical boundaries with no end in sight. Last month they released their newest album, “Ladysmith Black Mambazo & Friends,” a two-disc collaborative set of music in virtually every genre with artists from around the globe. Averaging nearly one recorded album every year, combined with an abundance of young talent in the group of nine (four of the nine are Shabalala’s sons), assures me the next time I see them in concert, which would be my fifth time, will be as equally enjoyable and fresh as it was the first time nearly twenty years ago.

Falling Fast for South Pacific

As the "Overture" opens each performance of Rodgers & Hamerstein’s South Pacific this week at the Fox Cities P.A.C., the audience is clearly swept away as its first Broadway revival since 1949 brings alive the music and magic of an American classic.

Whether we’re entranced by a love story, entertained with timeless humor, taken by the military memories or thrilled by the sounds of a bygone era, we’re falling fast for South Pacific!

REVIEW: Fox Cities Performing Arts Center off to a brilliant start with 'South Pacific'
 
NEWS: 'South Pacific' theme no easy score for Fox Valley musicians
Community Reviews

Themes in 'South Pacific' of facing prejudice and overcoming racism still relevant today

Great seats are still available for performances tonight through Sunday. Visit foxcitiespac.com for details!