The Clinton Area Showboat Theatre's Alice in Wonderland is one of those productions that must be accepted for what it is. In this case, it's Lewis Carroll's classic story adapted for the stage by director Kristin Katsu and the company of Showboat interns, along with a few of this summer's cast members. In truth, much of the show plays like it was written by high school students (as it was), particularly the early scene in which the cast gathers on stage and shares their hurts, frustrations, and dreams. The teen-centric concerns involving acceptance and the hopes of making a difference in the world came off a bit pretentious during Friday's performance, leaving me thinking, "Ah, youth." However, these young actors delivered their sentiments with such earnest sincerity that the play is rendered more tolerable through their joy and excitement in sharing their creation.
Wonderful Town is one of the few musicals whose soundtracks I love without ever having seen the stage version. That is, until Thursday night's performance at the Clinton Area Showboat Theatre, and what I saw lived up to the high expectations created by listening to the rich, often humorous songs by composer Leonard Bernstein and lyricists Betty Comden and Adolph Green.
While traveling to Thursday's presentation of The Wizard of Oz, which features much-loved songs by Harold Arlen and E.Y. Harburg, I pondered whether the Clinton Area Showboat Theatre's production would stick closely to the familiar images and characterizations from the equally loved 1939 film version. (As I prefer to see local theatre companies presenting unique versions of theatrical pieces, I hoped the Showboat would avoid copycat staging.) But once I settled into my seat, it took just a perusal of the program to know this wasn't going to be my grandfather's Oz, and a sense of excitement blossomed as I eagerly awaited the metaphorical curtain's opening.
There were moments during Friday's performance of Annie Get Your Gun at the Clinton Area Showboat Theatre in which I forgot that I was watching a performance. That is to say, the audience around me disappeared as I became lost in the production, and particularly captivated by Heather Baisley's Annie Oakley. This, for me, was a true escapist experience: I was absolutely taken in by Baisley's fantastic portrayal.
Tight harmonies, effervescent smiles, and pastel-colored dresses are the highlights of the Clinton Area Showboat Theatre's The Taffetas, a jukebox musical featuring songs from the 1950s. Yet it's barely a musical. The production plays out as the titular girls' group makes its national television debut on the Spotlight on Music show - with the Showboat crowd serving as the "live studio audience" for a televised concert - and as there isn't much dialogue, or much plot, The Taffetas is really more of a revue.
As a frequent theatre-goer, both professionally and preferentially, it's refreshing to see familiar material presented in a different way. Such is the case with the Clinton Area Showboat Theatre's production of Rent. Director Patrick Stinson and his cast abandon most of the conventions of the Broadway production, creating their own interpretation and consequently instilling more fun into this musical story of Bohemian life in New York's Alphabet City.
All things considered, Friday night's presentation of Chicago at the Clinton Area Showboat Theatre was pretty darned impressive.Subscribe & Listen to Reader Podcasts
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