Displaying items by tag: Lincolnshire

There is a lot of bad content out there, particularly regarding family programming. Any parent forced to endure an hour of Cocomelon will tell you, not every show is a banger or cult classic in the making. When modern programming fails, it is nice to know we can reach into the past and find good, reliable programming in the classics. For us, those classics are Rugrats, The Simpsons, Powerpuff Girls, Fraggle Rock, and of course School House Rock. When we learned that another classic, even more vintage, had a musical, we knew we had to check it out. With 2023 being the year of 'what was old is new again,' we ventured to the Northern burbs to see You're a Good Man, Charlie Brown.

Based on the beloved Charles Schulz comic strip, the 1967 musical features Charlie Brown and the Peanuts bunch as they explore life's great questions: playing baseball, struggling with homework, singing songs, swooning over their crushes, and celebrating the joy of friendship.

We were so hopeful for this play and curious about the comic strip in musical form. There were most certainly a few standout moments such as the song "Suppertime" performed by Snoopy and "Beethoven Day" performed by Schroeder, but overall, the songs and music were quite forgettable; no one would be caught singing a song from this musical at an audition.

Much like the comic strip and small vignettes on DVD, the play did not really have a plot or a story arc. What motivates the characters? What is the climax or problem of the story? If this Charlie Brown person claims he has no talent and nothing to offer, and throughout the play we see him live up to that expectation, what is the point of watching him or the people in his life? One could reach for a plot in that Charlie Brown is a good man simply because he is so ordinary that it makes those around him stand out even more, even though they aren't particularly fascinating. We could even venture that he's a good man because he truly does no evil, only sort of floats around innocently, keeping to his own. he does good by doing nothing and allowing his friends to be themselves (even at his own detriment). 

The musical was short and sweet, just under an hour run time with over 20 songs. It's a small cast and simple design, and the Lincolnshire Marriot 360 Theatre ensured you saw every minute of the play from any angle. The only real redeeming quality of the show is that children loved it. In its simplicity and sweetness, it found its niche with the children in the audience whose faces lit up when Snoopy started to talk and when Linus sang a ballad to his blanket. Maybe our brains crave more action and drama than Charlie Brown would deliver (he is rather unextraordinary after all), or maybe Charlie Brown doesn't resonate like it did in the 60s and 70s, but nevertheless, it does have some lasting power, reaching out across generations to bring Boomers and Gen Alpha together for a brief moment out of lives. And maybe, just maybe, that was the real purpose of this musical.

You're a Good Man, Charlie Brown is playing at the Marriott Theatre in Lincolnshire and runs through April 1st. Grab the kids and grands and secure your tickets today. 

The first time I ever saw Oliver!, it was the 1960s movie version. I saw it at one of those old-timey theaters where an “old” guy (this was the 1980s and I was a wee lad, so the organist very well could’ve been a pimply teen keyboard prodigy and I’d have still pegged him as a geezer) played the pipe organ and they showed “old” movies (I remember seeing Laurel and Hardy there, too) and it was supposed to make you feel like it was the good-old days. Well, I know I didn’t recall much of the plot, but that Oliver!’s characters and musical numbers sure made a big impression — a big enough impression that my reintroduction to them, all these years later, by the Marriott Theatre’s current production, made it feel like being reacquainted with shabby old Cockney chums on the Victorian London streets in which they make their questionable livings.

When my date for the night, my six-year-old daughter who’s already a Broadway kinda gal, asked me what Oliver! was about, I told her it was “Annie with boys.” That explanation appeased her beforehand, and it made even more sense as we watched the show, because in Oliver!, it’s the kids who do the heavy lifting. From the opening number, “Food, Glorious Food,” the urchins whose lives are spent in either the poorhouse or on the London streets are the focus whenever they’re onstage. And the boys (and yes, unlike Annie’s female orphans, these kids are all male), despite their coal-smudged cheeks and their ratty rags and hand-me-down threads, light up the stage whenever they take it, especially in big numbers like the afore-mentioned “Food, Glorious Food,” as well as “Consider Yourself” and “You’ve Got to Pick a Pocket or Two.”

The two young stars of the play do as much shining as any of their peers. In the performance I saw, Kayden Koshelev played the eponymous orphan (he’ll be alternating performances with Kai Edgar). Koshelev is a little guy, tiny in comparison even to the other kids. But that makes him stand out, actually, and makes the audience care for him even more. Patrick Scott McDermott’s Artful Dodger steals each scene he’s in, his Cockney accent on point, his top hat held high, his eyes twinkling through the gloom and doom of his homeless, criminal existence.

And the adults who force this existence on their youthful stage mates are every bit their younger peers’ equals. In the movie version, I remember being terrified of Fagin. But in this production, William Brown brings the heart he recently brought to Into the Woods — sure he’s a crook and takes advantage of the boys who are his wards, but he’s a vulnerable villain. The same cannot be said for Dan Waller’s Bill Sikes; I wish Waller had a bigger part, because while he wasn’t the imposing figure, size-wise, I remember the film Sikes being, Waller’s demeanor and attire sure made a dark impression. Matthew R. Jones’ Mr. Bumble was also a daunting adult for the poor kids to deal with, although he was allowed some humor thanks to Bethany Thomas’ Mrs. Corney (Thomas, too, displays her range, this time as a character actress after carrying the recent Into the Woods).

But it was yet another star from Into the Woods who shined brightest in Oliver! — Lucy Godinez’s Nancy. Godinez starred, of course, as Little Red Riding Hood, and helped make that production. But, if it’s possible, she’s even better here, showing just as much warmth as Brown’s Fagin for the ragamuffins, and providing the highlight of the show with her take on “As Long as He Needs Me” — her performance of that song alone will have me looking for any future productions she’s in.

So, just like the film version’s plot made little impression on a little me, while its cast and music did, I can say the same for the Marriott Theatre’s current production of Oliver! — come for the charming Cockney characters and the tunes, glorious tunes. You won’t leave with an empty belly.

At Marriott Theatre through December 29th. For more information visit https://www.marriotttheatre.com/.  

The skies full of snow,
The weekend seemed dire.
Oh, where would we go?
To Lincolnshire!

On the Marriott stage
To see Seussical,
Straight from the page
To a musical!

All your favorites are there,
Horton and a Who or two,
Gertrude and Mayzie,
We even go to Kalamazoo!

Oh, the thinks you can think
When you think about Seuss.
And the sings you can sing
When you let writers loose.

The play follows Horton
You know him, you must —
The kindly old elephant
With a speck of dust.

With Evan Martin as Horton
And Pat McDermott, moreover,
As the Who on the speck
And the speck on a clover.

But soon there is trouble:
A sour kangaroo
Played by Nicole Kyoung-Mi Lambert
Mocks Horton and his Who!

For the speck is a planet
Filled up with these Whos
Who’ve befriended our Horton
Who soon has the blues.

But Gertrude McFuzz
All bouncy and blonde
Played by Kelly Felthous
Of Horton is fond.

But Gertrude’s not all
No, no, no! No way, Jose!
She’s not the only
Star of this play.

There are Bird Girls galore
By gosh and by golly
Played by Michelle Lauto,
Mallory Madke, and Samantha Pauly

And the Wickersham monkeys
Onstage jump and sing,
Played by Alejandro Fonseca
Brandon Springman, and Ron King.

Horton hatches an egg,
Jojo yearns to be heard,
There’s even red fish and blue fish
Amongst all the birds.

Oh, I almost forgot —
Have you any guesses?
The Seussian favorite
Played by Jon Butler-Duplessis.

A feline who’s tall,
Nearly tall as his hat,
Hosted all the hilarity —
The Cat in the Hat!

On the faces of children
When the play was all done
Were smiles and giggles
Both sure signs of fun.

This musical’s a hit
But it won’t last too long —
Until March 31st
You can hear Seuss’ songs.

So if you’ve got wee ones
Who love Dr. Seuss,
Don’t miss this play,
You’ve got no excuse!

Through March 31st at Marriott Theatre - www.MarriottTheatre.com

The anti-fairytale is something everyone can get behind. Though there have many of these attempts over the years, Shrek is still the stand out, the one that broke the mold, the OG. Now everyone's favorite ogre is back in an  hilarious stage spectacle, based on the Oscar-winning, smash-hit film.

An unlikely hero, Shrek, is determined to reclaim his precious swamp from exiled fairytale misfits with the help of his wisecracking sidekick, Donkey. Together, they find themselves on a life-changing journey to rescue a princess who is locked away in an isolated castle guarded by a fire-breathing, lovesick dragon. Throw in a short-tempered bad guy, a royal wedding, and an evil curse and you've got the kind of mess only true love's kiss can fix!

The musical closely followed the movie, at times nearly line for line, even capturing the original line’s cadence and inflection. But the repetitive was broken up by clever musical numbers such as What’s Up Duloc?’,  ‘I Think I Got You Beat,’ and ‘Freak Flag,’ that enabled the show to stand out on its own. The musical adapted the magic of the play well with a life-sized version of the gingerbread man, a fire breathing dragon, and the stand out of the day, riding a motor-powered horse, Lord Farquaad played perfectly by Steven Strafford. As the actors, stagehands, and technical crews moved throughout the theater and on stage, the audience was transported to Duloq seamlessly.

The green anti-hero first premiered in 2001 and seventeen years later it still holds up in a form that young audiences can embrace and enjoy.

SHREK THE MUSICAL runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $18.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com.

The theater was clad in every hue of pink your eyes have ever seen: baby pink, fuschia, blush, rose, peach, flamingo, ballet slipper, I didn't know that was an official color until an audience member corrected me (I googled it, she's right). My husband and I did not get the memo and dressed our family in yellows and blues of summer. We should have known better. This was Pinkalicious after all, the dress code was not subtly implied. Luckily my daughter sported her pink unicorn shirt and her enthusiastic bouncing in her seat more than made up for the faux pas. After some technical difficulties and an announcement from the director the pinktastic, pinkeriffic, pinktacular show began.

Adapted form the beloved series of children's book by Victoria and Elizabeth Kann, Pinkalicious tells the story of Pinkalicious Pinkerton, a young girl with a penchant for pink cupcakes. Her parents warn her about the dangers of eating too many sweets, but her hunger can't be stopped. One morning she wakes up with pink hair, pink skin and pink clothes - yes, she's come down with pinkititis! It's up to her family to teach her moderation, and get her back to her normal color.

This play was surprisingly enjoyable. The Marriott theater's talented ensemble provided the perfect blend of professional acting combined with the laissez faire air of live children's theater. In short, they don't take themselves too seriously. While the beginning of the play post tech issues was a bit over the top, the lead too fake and utilizing a sickly too high-pitched fake kid's voice, the cast eventually settled into their roles, interacted more with the audience, and performed the second half with an ease and lightness that wasn't forced. The play also incorporated heavier themes like how boys can like pink too, and wove a unique story into the story with catchy numbers like “I got the pink blues,” and “Buzz Off.” At times it was the parents laughing more than the children, which only  the best children's shows can pull off. Overall, the overtly cute gave way to an adorable and simple story filled with good lessons and some one-liners we can repeat to our kids to continually reinforce good habits. That's right, you get what you get and you don't get upset kiddo!

This family friendly musical, which teaches the value of family and healthy living, is an enormous hit. It took off on Off-Broadway and their tour is quickly becoming a local theatre favorite. Every playdate and park trip has someone raving about it as much, if not more, than Hamilton. So get your seats today and  just remember dressing up in pink is highly encouraged! The tour plays Marriott Theatre in Lincolnshire, IL, until August 19, 2018. Tickets can be purchased at http://www.marriotttheatre.com/show/pinkalicious.

When we think of traditional whodunits, we think of a carefully plotted murder, a list of suspects, and an inquisitive detective who gradually pieces new clues together until the crime is solved. Marriott Theatre’s “Murder for Two” is just that, albeit a musical-comedy that stars just two actors taking on 13 roles. How is that done exactly? With a lot of precision, spot on timing and with a special actor named Jason Grimm who bravely takes on the roles the twelve party goers (all suspects) as well as the victim.

When a surprise birthday party goes bad and Great American Novelist Arthur Whitney is murdered, small town cop Marcus Moscowicz decides to use his sleuthing skills to find the killer since the nearest detective is an hour away. Everyone in attendance of Whitney’s birthday party are suspects including Arthur’s wife, Dahlia, who relishes in the thought of being a “murderess”, prima ballerina, Barrette Lewis, renowned psychiatrist, Dr. Griff, Whitney’s niece, Stef, who is studying criminology in college, an elderly couple that bickers every chance they get and a handful of other interesting characters. Moscowicz wants badly to make detective and the clock is ticking, giving him less than an hour to solve the crime before he must turn the case over.

Noel Carey stars as Marcus and does a bang-up job as the eager detective-wannabe, perfectly complimenting Grimm as he goes from suspect to suspect – and back again. Both Carey and Grimm take turns playing the piano whether it be for a musical number or just ambience music.

Directed by Jeff Award Winner Scott Weinstein, “Murder for Two” is a fast-moving, suspenseful ride that offers big laughs in rapid-fire succession.

“This production provides a fantastic evening of murder mystery, zany comedy, and true virtuoso performances. There are only two performers that take on 13 roles throughout the entire 90 minutes, “says Weinstein. “They not only remain on the stage for the entire show, but one or both of them are also playing the piano throughout. Whether you are a fan of comedy, mystery, or anything in between, this production will have you begging for more.”

Weinstein couldn’t be more correct. Grimm’s ability to go from personality to personality without pause is nothing less than astonishing. The script is rich with humor and holds the perfect amount of suspense. The set's impressive revolving stage keeps all the action moving - literally.

“It is 90 minutes of nothing but silly,” Grimm says. “One character accidentally incriminates himself. One character, for attention, loves the idea that she is a suspect and basks in it.”

Joe Kinosian and Kellen Blair are the writers behind this exciting comedy and Carey and Grimm couldn’t be better cast (Carey has starred as Marcus in the musical’s national tour).

Highly recommended.

“Murder for Two is being performed at Marriott Theatre in Lincolnshire through August 26th. For tickets and/or more information visit www.MarriottTheatre.com.

I love the theater. Having no talent for acting myself, I venture to see skilled thespians bring stories to life on the stage. My love of theater was fostered from an early age and, as an adult, I want to pass that love onto the next generation and help grow my children’s creativity and imagination. No other playhouse helps to do this quite as well as The Marriott Theater in Lincolnshire, who once again brought a beloved Hans Christian Andersen tale to the stage. Not only was the show delightful, but it kept two toddlers and a four year old entertained for over an hour without disruption. This is no small feat.

The Emperor's New Clothes is the story of fourteen-year-old Emperor Marcus the Third, who is nervous to take the throne. Deciding that he can only gain confidence by dressing in the finest attire, Marcus commands his Royal Clothesmaker to fashion him in the most royal wardrobe. Taking advantage of Marcus' uncertainty and immaturity, a Swindler promises to make magic clothes that are "invisible to fools, liars, and anyone you should ignore," for a large and hefty price. Only Arno, the simple-hearted mop boy, can help Marcus out of this royal mess and teach him an important lesson about outward appearance.

The play was performed with the same campy, over-the-top styling that can only be found in children’s theater, but there was also a genuineness brought to the story through the characters. This was most noticeable in the relationship between Emperor Marcus played by Declan Desmond and Arno, played by Garrett Lutz. The characters dominated the small cast and were at their best in their scenes together. They were genuine without overdoing it, authentic without trying too hard. The young actors’ charisma drew in all audiences and their fun back and forth banter made children giggle and clap with excitement. The actors seemed to genuinely enjoy what they were doing and above all just wanted to make the audience laugh. With so much joy and enthusiasm to their acting it was easy to see why young audiences were completely focused on them.

With quality play selection, wonderful acting, and a cast whose hearts are as young as the audience members’, you have a winning combination for a weekend excursion. Children will hopefully start to love the theater and parents will love an uninterrupted hour where they are not the entertainers.

The Emperor’s New Clothes is a one-hour presentation for kids (and parents) of all ages. All performances are followed by a Q&A session with the cast. The play runs through May 12, 2018 and tickets can be purchased at http://www.marriotttheatre.com/show/the-emperors-new-clothes. Please note: all patrons, regardless of age, need a ticket.

This past week I found myself in a movie theater with reclining seats, an overpriced large popcorn, and a two liter cup of soda all to myself. The movie was awful, but the audience more than made up for the bad comedy. With contagious laughter and witty one-liners, the audience of closet suburban comedians turned the otherwise flat movie into a Second City stage. Sometimes the audience is more entertaining than the scheduled entertainment; that was definitely the case as I ventured out with my 3-year-old-daughter to see SLEEPING BEAUTY at The Marriott Theatre for Young Audiences.

SLEEPING BEAUTY is Marc Robin's musical adaptation of the classic Brothers Grimm fairy tale with some variations. In a kingdom far away, the vengeful sorceress Magenta has placed a wicked curse on the beautiful Princess Amber and only a true love's kiss can unlock the spell and wake her before it is too late. Prince Hunter must battle dragons, scale mountains, and sail the dark sea to save Princess Amber. Will his journey allow him to make it in time to prove his love to his Sleeping Beauty? This captivating fairy tale creates excitement and thrill for its audience as they root for Prince Hunter and the fate of the beautiful princess!

The play was performed with the over-the-top, flamboyant, campy type of performances that can only be found in children’s theaters. Bouncing excitedly in their seats toddlers watched with wide eyes, captivated by the colorful characters and silly antics of the cast. When the cast called on the audience to help Prince Hunter, played by Garrett Lutz, or to reassure Magenta, played by Meghan Murphy, the children responded faster than they answer their parents with a sense of urgency and enthusiasm only seen before bed times. Girls and boys dressed in princess dresses, waving at fairies and hiding in fear from the dragon. They sat on their feet and stood on their seats, craning their little necks to get better looks at their favorite characters on the stage. Rare moments of silence were punctuated with adorable high-pitched “whispers” of reassurance that princess Amber was “just sleeping;” big sisters calming worried younger siblings. With such pure happiness emanating from the seats around us, it was easy to overlook the many issues with the fairy tale narrative (like how a sixteen year old girl gets married after a single kiss or that a princess who is given courage and strength from her fairies is still not smart enough to stay away from a spinning wheel). But fairy tales often impart simple wisdom to impressionable audiences, and as they get swept up in the magic and majesty of the performance it is easy to look past our adult cynicism and just enjoy the show with childlike wonder.

SLEEPING BEAUTY runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $17.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com<http://www.MarriottTheatre.com>.

Newsies, the Disney film from 1992 by Alan Menken (whose run around the same time of Little Mermaid, Beauty and the Beast, and Aladdin I’d put up against the work of any songwriter, on tape, on film, or on stage), was one I saw back when it hit VHS. But I don’t remember it too well. At least not the story. So, having not yet seen the Broadway adaptation of Newsies, I was curious to see if the Marriott Theatre’s production made more of an impression. And boy, did it ever.

The story’s still nothing that’ll make the “papes” (that’s what newsies call those inky, stinky things that used to provide the daily headlines), but I quickly realized we weren’t there for story. We were there for spectacle. And boy, did this production deliver.

In the round, the set is dominated by three steel girders that move to change the feel and figure depending on the needed background, but mostly harken back to turn-of-the-century NYC (partying like it’s 1899, not 1999), a city that’s growing and figuring it all out. So, too, are the newsies of the title, a pack of newspaper delivery boys of all shapes and shades and sizes, but who’ve got one thing in common – servitude to the media titans of the day. The story – one of standing up to the wealthy bullies who run things – is inspiring and as apt today as it was over a century ago, even if it doesn’t hold up to the spectacle. So let’s get to that spectacle!

Patrick Rooney as principal paperboy Jack Kelly works well as the lead. He’s got old-timey leading man looks and allure – “pizazz” they probably would’ve called it back in ‘99. And he’s got pipes, too, really letting loose on Menken’s “Santa Fe” to close the first act.

Jack’s fellow newsies have pizazz from the Bronx to Brooklyn, too. Athletes, all, they leap and bound, frolic and flip all across the square stage, charming the audience on all sides with spot-on choreography. Nick Graffagna as Davey looks and talks the part of a lad of that era, and Garrett Lutz’s bushy-haired Irishman does, too. Laura Savage and Adrienne Storrs as two newsgirls provide even more spunk and theater talent to the gang. And when the newsies storm the simple stage for ensemble numbers like “Seize the Day” and “King of New York” they make Lincolnshire’s modest forum seem simply metropolitan.

But from the get-go, the newsie who stands the tallest is young Matthew Uzarraga. As Crutchie, a disabled orphan armed with his namesake walking stick, Uzarraga first shows his skills when he joins Jack in harmony on an early take of “Santa Fe” – I’m a sucker for spot-on harmonizing, one of the things that’s hardest to do as a vocalist and when done right gives the listener goosebumps – giving me the chills. And throughout the show, Uzarraga’s crippled but plucky street urchin steals the stage whenever he’s on it, hobbling along happily and even bubbly and bright when consigned to a poorhouse bed.

My teen daughter, who accompanied me to the Marriott and who did catch the traveling cast of Newsies at the downtown Cadillac Theater a couple years back, said she enjoyed this production even more – delighted at seeing the footwork and old-timey fashions up close. So, too, did the rest of the audience – old and young, alike. So if it’s a story you’re looking for, I’ll tell you right now, Newsies is pretty much Annie, but with Worlds and Suns and Tribs instead of mops and buckets and baldheaded tycoons. But if it’s a show, a spectacle, you wanna see, then head to Lincolnshire for the Marriott’s production of Newsies, and pony up for the pomps and papes they’re sellin’!

For more show information visit www.marriotttheatre.com.

If you haven't seen the film version of “The Bridges of Madison County” starring Meryl Streep and Clint Eastwood, do not fear - the musical adaptation for the stage is full of beautiful songs and choreography that make this production a whole different animal than the 1995 movie and 1992 novel it was based. 

The story is simple, and universal. What to do when your life has not turned out the way you dreamed and true love steps in to give you another chance? Will you take a chance on Love? 

In "Bridges" we meet Francesca, an Italian war bride who married the first, kind GI she met after the war and came to America leaving everything familiar behind her to start a new life. While her husband and children are away at the state fair in Indianapolis for the weekend, fate brings true love knocking right on her front door in the form of a handsome and single National Geographic photographer, Robert Kincaid, who is on assignment in the area photographing the seven beautiful bridges of Madison County. 

After directions, that turns into a guided tour of the seventh bridge, followed by a few drinks and the sharing of deep personal stories, this compatible coupling quickly heats up into a life changing affair.

Francesca Johnson, played by the beautiful Kathy Voytko, reminds me a lot of a young Patti Lupone. Voytko, who has appeared in numerous Broadway productions, has a strong and lovely voice with a lovely Italian accent and very expressive face which reflects her growing attraction to Kincaid with every glance or bat of her large brown eyes. 

Kincaid, played by actor Nathaniel Stampley, comes alive on stage with a masculine warmth and grounded sensuality which make both Francesca and the audience feel she is infinitely safe within his embrace. We quickly realize that this is no one night stand nor even a chance encounter but all of destiny itself intervening to make these two lives powerfully intersect, if only for the weekend. 

Stampley and Voytco's passionate and unexpected love affair is well-supported with some comic relief by the actors who play her husband, kids and friends. Bart Shatto plays Bud while Brooke MacDougal plays the couple's young daughter Carolyn and Tanner Hake is their teen aged son Michael. Francesca's' supportive best friend, her closest neighbor out in farm country, is wonderfully played by Wydetta Carter. Carter also has a great Jazz voice and sings a very funny song about her envy of the magical love affair unfolding just across the fields from her perch in the front window of her country home. 

Jeffrey D. Kmiec's set design is very open, changing rapidly from the bridge location back to the kitchen and gives one the feeling that the ageless beauty of the bridges of Madison County represent a type of true love that is only found in dreams come true and that the small house in which Francesca and her family live is actually more of an astral 18 year-long "rest stop" -  that the travel loving and exotic Francesca is fundamentally out of place here.

I loved the song, "Before and After You" passionately and exquisitely sung by both Voytko and Stampley. The song perfectly describes how true love changes one's life and perceptions completely, making one realize in an instant just how much has been missing from their lives before they met and also how much their future lives will be forever indelibly stamped by the experience of this miraculous encounter and gift from fate. 

During their brief, but instantaneous, courtship over Francesca's kitchen table, Robert Kincaid, who is a devout loner and world traveler, tells her he feels disconnected from the world. In a flashback type setting, his ex-wife Marian, who is a hippy folk singer played by actress Emily Berman sings a very lovely song behind the flirting couple about her relationship with Kincaid and we see a whole other, liberal free loving side to the somber Kincaid character. The romantic, open-minded, artsy side of Kincaid has long since disappeared from his own consciousness as he jets sets around the globe never stopping for that "glass of iced tea or night cap of brandy" that will open the door to a new relationship thereby sidestepping over and over the vulnerability that a new relationship will inevitably bring. 

I highly recommend this beautifully cast and performed production of the stage musical. The relationships are very well played and the audience is allowed to see how the lover's interactions with each other bring to life all of the best aspects of their personalities, important living aspects and hopeful expectations of freedom and genuine loving excitement that have been long buried by the monotonous work and family demands of daily life. We also sit on pins and needles as the play brings its leading characters to an incredibly tough choice.

Voytco and Stampley's performances in the lead roles are deeply drawn, rich and compelling. Their chemistry feels real and palpable and their expansive individual artistry as singer/actors draws you in and makes the audience really care what choices they make and how their decisions will impact their mind-opening love affair, which is obviously a gift from heaven. 

“The Bridges of Madison County” is being performed at Marriott Theatre in Lincolnshire through August 13th. For tickets and more show information visit www.marriotttheatre.com.