Displaying items by tag: tap dance

BrightSide Theatre’s The Producers storms into Meiley Swallow Hall with the kind of swagger only Mel Brooks can inspire: brash, brazen, and blissfully unconcerned with good taste. From the moment the lights rise, the show charges ahead with a manic momentum that feels both affectionately old school and sharply self-aware. It knows exactly what it’s here to do: go big, go bold, and never apologize for the mayhem.

Under the confident direction of Artistic Director Jeffrey Cass, this staging taps directly into Brooks’ outrageous, boundary-poking sensibility and never loosens its grip. Cass understands that The Producers thrives when its humor teeters on the edge, and he captures that gleeful imbalance with remarkable control. The original film premiered in 1967, the musical exploded onto Broadway in 2001, and if anyone wonders whether that brand of audacity still lands in 2026, the answer is an unequivocal yes. The Naperville audience laughed steadily from the first scene to the curtain call, proving that Brooks’ anarchic wit remains timeless.

BrightSide’s version brings the show’s wild premise to life with full comic force: washed-up Broadway producer Max Bialystock (Scott Kelley) and anxious accountant Leo Bloom (Michael Metcalf) concoct a get-rich-quick scheme to stage the biggest flop in theatre history. If the show collapses on opening night, they can pocket the investors’ money and disappear. Their hunt for guaranteed failure leads them to the worst script imaginable, the most misguided director in town, and a cast so spectacularly wrong that success seems impossible. But in classic Brooks fashion, the plan detonates in the most unexpected way, turning their surefire disaster into an accidental triumph and leaving the pair scrambling to survive the fallout.

That spirit of intentional ruin pulses through the musical numbers, each one another attempt to engineer catastrophe. “Springtime for Hitler,” the show-within-the-show’s notorious centerpiece, is crafted as an overblown, tasteless pageantry meant to repel audiences instantly. “Der Guten Tag Hop Clop” and “Haben Sie gehört das Deutsche Band?” push the absurdity even further, spotlighting a playwright and director whose delusions should have doomed the project. Even “Keep It Gay,” with its flamboyant insistence on excess, is part of Max and Leo’s strategy to stack the deck with choices so misguided they can’t possibly succeed. Ironically, the songs are so bold, so shamelessly theatrical, and so cleanly executed that the very elements meant to sink the show end up turning it into the hit they never wanted.

Scott Kelley’s Max Bialystock and Michael Metcalf’s Leo Bloom make a terrific duo, striking a lively balance between showmanship and panic. Kelley barrels through the role with larger-than-life bravado, while Metcalf’s tightly coiled nervousness plays off him beautifully. Their timing is crisp, their rapport effortless, and together they elevate every scheme, meltdown, and misstep.

Max Bialystock (Scott Kelley) and Company.

Amelia Tam is outstanding as Ulla, the blonde bombshell Max hopes to lure to his “casting couch”. She is an amazing dancer with an equally outstanding voice, commanding attention the moment she steps onstage with a blend of radiant charm and razor-sharp comedic instinct. Her Ulla rises far above the familiar Swedish ditzy-blonde trope, becoming a spark of vitality who shifts the temperature of every scene she enters. Tam mixes wide-eyed innocence with sly intelligence, making each line land with extra bite. Whether stretching a vowel for comedic payoff or launching into “When You Got It, Flaunt It” with fearless gusto, she turns Ulla into a character who is not only irresistible but essential to the show’s rhythm.

The supporting cast is uniformly strong, powered by an ensemble that moves with clarity (credit to choreographer Mary Grace Martens), hits its jokes cleanly, and fills the stage with infectious confidence. Cheryl Newman shines as one of Max’s elderly ‘investors,’ delivering sharp comedic work while also contributing behind the scenes as costume designer - a pair of responsibilities she handles with impressive finesse. Michael John Lynch brings delicious flair to Carmen Ghia, the impeccably mannered yet cutting assistant whose every gesture blends elegance and threat. Myles Mattsey is memorable as Franz Liebkind, the unhinged playwright whose patriotic fervor is both alarming and hilarious, while John B. Boss transforms director Roger DeBris into a gleaming spectacle of theatrical excess. Together, they form a gallery of eccentrics who keep the show’s momentum high and its humor constant.

All the while, Phil Videkis provides excellent musical leadership, guiding the orchestra with crisp pacing and keeping the score bright, tight, and perfectly attuned to the show’s comic sensibility while supporting Thomas Meehan’s book with well-judged musical choices.

The staging makes clever use of an economical but highly effective set designed by Ariel Mozes, shifting smoothly from location to location without ever feeling limited. What the physical scenery lacks in large-scale opulence, it compensates for with smart configuration and adaptability, allowing the story to move quickly while keeping the focus on the performers. Enhancing that versatility is a programmable LED backdrop that becomes one of the production’s most dynamic tools, transforming into windows, rainbows, bursts of color, or even spelled-out words that heighten key moments. Together, Mozes’ resourceful design and the vivid LED wall create a surprisingly rich visual world that expands far beyond the modest footprint.

BrightSide Theatre once again demonstrates a sharp eye for material, adding The Producers to its growing list of savvy, crowd-pleasing selections. This staging delivers everything a Mel Brooks musical should: big laughs, confident performances, and a joyful sense of mischief that never lets up. It’s a lively, high-spirited evening that embraces the show’s outrageous personality while still finding its own clever touches along the way. This musical comedy is highly recommended, playing through June 28th at the Theater at Meiley Swallow Hall, an ideal summer outing for anyone craving a night of bright, unapologetic fun.

For tickets and/or more show information, visit https://brightsidetheatre.com/producers/.

With CAN YOU HEAR US NOW? Chicago Tap Theatre presents an original show directed by Molly Smith. CAN YOU HEAR US NOW? featured a series of original choreography from CTT dancers inspired by, referencing, and in honor of historical figures in tap dance and jazz music history from the LGBTQIA+ community. Part archival research project, part live show, this show combined tap history with the state of tap dance today, with a focus on LGBTQIA+ perspectives. The production was a celebration of queer culture and history through the eyes (and shoes) of the dancers themselves.

CAN YOU HEAR US NOW? THE QUEER TAP DANCE REVOLUTION, performed at the Edge Theatre, is Molly Smith's directorial debut, and a fine job she made of it! Each production was choreographed by a Chicago Tap Theatre (CTT) member or apprentice, including Molly herself. Her solo performance, to Lesley Gore’s You Don’t Own Me, was stunning and clearly heartfelt. She further discussed the connection she sees between tap dance and queerness.

Mark Yonally (he/him) is the founder and Artistic Director of Chicago Tap Theatre, one of the most critically well-regarded dance companies in Chicago. They perform an annual three-show season in Chicago and tour throughout both America and Europe. Their performances have been chosen as the Top Ten Dance events of the year by the Chicago Tribune, the Chicago Sun-Times, SeeChicagoDance and Windy City Media. CTT’s stated mission is to share the creativity, the history, and the pure joy of tap dance; these were clearly illustrated in CAN YOU HEAR US NOW?

The set was purposefully and effectively nearly neutral; not so the lighting! which was refashioned to enhance each piece.

The intervals between pieces were very short, which was useful for the most part. However, their duration might have been adjusted to coordinate with the mood of the dances, particularly near the end, with more emotionally charged pieces: Molly Smith’s solo, and the dance commemorating our martyrs to the AIDS epidemic. Here the rapid interruptions felt hurried and forced.

Drury Lane has wowed audiences over and over with big song and dance productions. Not only recognized for its intricate choreography, the theater has also been known for its dazzling sets and stunning costume design. From ‘42nd Street’ to ‘Singin’ in the Rain’ to ‘West Side Story,’ impressive musical stage adaptations have practically become common place. In Drury’s latest endeavor, ‘An American in Paris,’ the theatre pulls out all the stops.

Based on the 1951 Academy Award Winning film of the same name that starred dancing greats Gene Kelley and Leslie Caron along with Oscar Levant, Georges Guetary and Nina Foch, ‘An American in Paris’ is the epitome of a big song and dance musical. Taking place in Paris, where love is always the theme, the story revolves around Jerry Mulligan (Josh Drake), a vivacious expatriate who wants to make it as a painter. It’s not long after World War II and Jerry is stricken with the city and has no plans on returning to the U.S. anytime soon.  Jerry’s neighbor, fellow G.I. and friend, Adam Hochberg (Skyler Adams) is a struggling concert pianist who tells us the story - that gets a bit complicated once his long-time friend and associate, French Singer Henri Baurel (Will Skrip), and talented dancer Lise Dassin (Leigh-Ann Esty) get introduced. Turns out the three fellas all have eyes for Lise, and though they talk to each other about their newly found love, they have no idea they are referring to the same person – thus the song “S Wonderful”.

The dancing scenes are certainly the highlight in this production and Josh Drake makes the most of his opportunity as Jerry to astonish the audience with his fancy footwork every chance he gets. Though Drake’s acting comes across a bit rigid, he more than makes up for it with a strong voice and eye-popping dancing prowess. Drake is flat out exciting every time his feet begin to move. Leigh-Ann Esty as Lise also startles with her graceful moves, making the most complicated of motions seem effortless. Also, well-cast is Will Skrip as Henri who is not only very funny in the role but is capable of belting at any given moment – and does so with power and flair. Skylar Adams might just offer the best all-around performance in this dynamic musical as Adam Hochberg, giving a well-balanced display of vocal ability, dancing talent when called upon and strong acting. The already superb cast also gets a lift from Erica Evans who shines as Milo Davenport and a Drury ensemble that is ever-reliable.

Karl Green goes all out with fantastic costume design. According to an Instagram post a few weeks prior to the show’s opening, the team had already spent nearly 2,400 hours on costumes, greatly surpassing the theatre’s average of 1,000 hours per show. And it shows, with costume changes aplenty, each detailed to perfection.

The dance scenes are memorable (thanks to Dance Captain, Allyson Graves) and many of the songs unforgettable such as George and Ira Gershwin’s “I’ve got Rhythm” and “(I’ll Build a) Stairway to Paradise”. ‘An American in Paris’ is a story of perseverance, passion for life, but mostly love. 

Highly recommended.

“An American in Paris’ is being performed at Drury Lane Theatre in Oakbrook through March 29th. For tickets and/or more show information, visit www.drurylanetheatre.com.

The holidays bring many traditions for different people. Some rewatch home alone, some bake cookies, some see Christmas lights, and some watch The Nutcracker with family. To me, it isn’t Christmas until I've seen the ballet at least five times. I've always loved the ballet, especially around the holidays. But tap? When tapped to see Tidings of Tap! I was skeptical. But what could be bad about a holiday dance show?

I never gave much attention to tap. It was the other dance. Sort of like rhythmic gymnastics to Simone biles gymnastics. But I'm a sucker for kitschy holiday shows and one that is family friendly is even better. Tidings of Tap! opened much like The Nutcracker where a young girl, performed by nationally ranked rhythmic gymnast Dasha Merkulov, enters into a mysterious and magical winter wonderland where she meets friends who demonstrate the meaning of the holidays. The tap dancers intricately tapped to familiar holiday carols and tunes, accompanied by a five piece band and live vocals. From winter wonderlands and Christmas to Hanukkah and from Black Friday and New Year's Eve, each number was more charming than the last. The young clara-like girl performed rhythmic gymnastics with grace and beauty. I was surprised by the talent of all the performers. The production was simple yet magical, the choreography intricate yet not overdone. The dancers were expressive and graceful, again nothing what I expected from a tap performance.

Thinking of tap my mind fills with figures like Gene Kelly and Fred Astaire. It's an older dance, one that hasn't kept up with the times. But Tidings of Tap!'s charm and spirit changed this tap-grinch's heart and made her a convert. The whimsical production of two hours and countless numbers offered plenty for the whole family. It was impossible not to smile and it'll be impossible to imagine next holiday season without this in the holiday line up.

Make Tidings of Tap! part of your holiday season next year. It's sure to become a mainstay on the North Shore and a tradition the whole family can enjoy. For more information on Chicago Tap Theater (CTT) visit www.ChicagoTapTheater.com.

For those who may have missed this one time show on December 10th, The return of Tidings of Tap, was filled with joy and the love of dance for the 2017 Holiday Season for families, friends and tap lovers of all ages.  Celebrating their 15th Anniversary, Chicago Tap Theatre presents this tapping extravaganza celebrating Chanukah/Christmas and the winter season, performing with a live band directed by Kurt Schweitz. To help celebrate their 15th Anniversary, Chicago Tap Theatre (CTT) is being challenged by The Gaylord and Dorothy Donnelley Foundation, to raise and match funds, to support CTT’s mission in producing high quality and innovative tap dance performances and expanding the art form of tap.

The North Shore Center for Performing Arts in Skokie, was the perfect intimate location for this anniversary holiday extravaganza, giving all audience members a perfect view of the dancers, and more importantly their feet. Highlighted throughout the show, the sound of the tappers helped to create and compliment the holiday music featured.  Tidings of Tap includes a syncopated “Rudolph the Red Nose Reindeer” medley during the Carols number, flicks of flame for Candlelight, anger and frustration for our shoppers during Black Friday and even featuring musical stylings from Artistic Director, Mark Yonally and the live band in, Rest Ye, Man. Besides Yonally, the very talented dancing troupe includes Kirsten Ittich, Jennifer Yonally, Aimee Chause, Isacc Stauffer, Sara Anderson, Sarah Owens, Anabel Watson, Bailey Caves, Chris Matthews, Emily Broeker and Dasha Merkulov.

Tidings of Tap, is a fantastic holiday show, that will keep you smiling from beginning to the Shim Sham end, where all tappers from the audience of all ages are encouraged to join the performers on stage for their final dance of the night.  An inspirational show for the season, for new dancers and to reignite the passion of dancers who continue to shuffle in their seats, Tidings of Tap really does bring in the happiest tidings of the season.

For more information on Chicago Tap Theatre including upcoming events, visit www.chicagotaptheatre.com.