This "Blonde" is Gold

With a sorority, a salon, a murder trial, #meToo, two dogs, two proposals and a massive Irish line dance, the story is almost too big for one night. But it was told in dazzling fashion by Fremont Street Theater Company as Legally Blonde, The Musical opened Friday at Cutting Hall in Palatine.

Based on a character from an original novel made famous by the 2001 film, Legally Blonde follows the journey of Elle Woods, a Delta Nu from Malibu, who evolves into a scholar and an unlikely legal genius.

It's a great leading role for Sarah Inendino (herself a doctoral student and music educator) in which to portray such a powerful combination of fashion, femininity and intelligence. She was fearless as Elle, tackling the lioness's share of singing, dancing and acting through numerous costume changes.

But the talent ran deep in this cast. In huge ensemble numbers with more than 20 people on stage, every artist was performing fully and consciously from head to toe. There were no mezzo-forte moments on this night: just a fortissimo fire hose of music and movement, electrified by outstanding costumes, lighting and set designs.

With vocal mics optimized for straight dialog the sung lyrics were hard to follow at times, but even if you don't already know this contemporary classic story you'll be blinded by the sheer spectacle of beauty and professionalism in this show.

Our favorite standout performance was by Jessica Means as Paulette, a salon stylist with high heels and a Boston accent who outperformed all the other tech and talent in the hall with bold and melodious solo lines and endearing comedic flair.

(The men in the show weren't bad either.)

Powered by a cast and crew numbering into the sixties — plus an 11-piece live orchestra — it's an astonishing production by Director Madeline Franklin, whose vision for this audacious, nonstop musical juggernaut seemed to come together flawlessly in front of a sold-out audience.

Tickets are still available for its second weekend, but act quickly because only three performances remain, September 13 and 14th at 7:30pm and September 15th at 3:00pm. Go to cuttinghall.org or fremontstreettheater.com.

Woodstock's Town Square Players: More Than "A Few Good Men"

An organization that relies on command and control in order to function is supposed to be free from drama. Aaron Sorkin's 1989 play A Few Good Men proves that drama can't be avoided within a closed society where men are trained both to cooperate and to fight.

In their last production before merging with Woodstock Musical Theatre Company, the Town Square Players casted 22 actors into nearly 30 roles to perform this powerful two act play Saturday at the Woodstock Opera House. Beginning next season, the two companies will combine to become Theatre 121.

The army of actors displayed military precision in their crisp movements, timing, entrances and scene transitions, but they were not a machine without a soul.

In crucial scenes, Jamie Ewing (Jessep), Derek Hyrkas (Kendrick) and Chris Griffin (Markinson) skillfully revealed the humanity of their characters with body language and accent, even in moments of half-shouted Marine-speak.

Anthony Walker (Dawson) and Nate Kirk (Downey) argued the value of individuality within a unit by portraying distinct characters whose loyalty is a choice based on emotions. It was part of a complex picture of Marine Corps life where standing perfectly still alternates with extreme physical exertion.

Adding to the authenticity of every well-cast role was superb costuming, haircuts and just the right amount of prop and set design.

Subdividing the space of a single stage into multiple storytelling zones is a signature style of director Madeline Franklin's creative vision. Her layering of time and space with foreground and background action, cued by lighting, raises the art to a level beyond what can be noted in a script.

In a leading role made famous by Tom Cruise, Trevor Wilson brought Navy lawyer Daniel Kaffee to life with endearing smugness that gave way to sincerity and conscience; he delivered a clear counterpoint to the rigidity of military society.

Tania Joy brightened every scene with a nuanced performance as Lt. Cmdr. Joanne Galloway, who was never entirely predictable. Her chemistry with Wilson was like a keg of gunpowder: dangerous if it were to explode.

Visiting the beautifully restored Woodstock Opera House is worth the trip, with its art gallery and historic interpretations, but seeing live theatre as it's meant to be seen makes the experience truly authentic.

A Few Good Men continues through June 30th, with shows at 8pm Fridays and Saturdays, and 2pm Sundays. For tickets, go to woodstockoperahouse.com or call the box office at (815) 338-5300.

Independent Players present a Classic Comedy

In a play about the theatre, in which actors play the roles of actors and other theatrical personnel, the possibilities for a multi-layered plot are intriguing. Where Noel Coward's Present Laughter (1939) is light on plot, it's heavy on characterizations, to which good actors will bring the best of their craft.

Directed by Don Haefliger, the Independent Players' cast of eleven seized the opportunity on opening night Friday at the Elgin Art Showcase.

In a role which Coward created for himself, Gabor Mark plays Gary Essendine, a temperamental and self-indulgent actor turned 41. Mark captures the exaggerations and peccadilloes of a spoiled British Thespian in his brilliant caricature, flinging out lines like "My entire life is one long torment, and no one remotely cares!"

Standing out among the supporting cast was Madeline Franklin as the vivacious Joanna, a wife and mistress within Gary's inner circle. Her stage presence and delivery commanded attention in every scene she shared with the other quirky and pretentious characters.

Coward's classic script is witty and downright hilarious at times, but still richly detailed with self-conscious lines like "I'm always acting," and "Don't be affected, Gary," and "Stop being theatrical!" All of these characters — not just the actors — are profound liars in their own way, and even the hired help injects drama into the story.

But this is really an actor's play. The more experienced players' quality of entrances, body language, and diction was superb, showing just the right restraint in this barely civilized farce. Some of the accents were better than others, but they were all successful, even communicating region and social class which, along with excellent costumes, created vivid personalities.

The run time is more than two hours (with an intermission), but you won't be checking your watch with all this colorful and comedic melodrama happening just a few feet away. See it for yourself, Fridays and Saturdays at 7:30pm through March 16th at the Elgin Art Showcase, 164 Division Street. For tickets and more information, go to independentplayers.org

Elgin Theatre Portrays War ... and "Piece"

The memories of women who survived the Vietnam War are brought vividly to life in Shirley Lauro's 1991 play A Piece of my Heart suggested by the book by Keith Walker, performed by Elgin Theatre Company Saturday night at the Elgin Art Showcase.

Written in documentary fashion, consisting of scenic vignettes divided up by monologues and music, Piece is a scrapbook of situations experienced by a collage of characters that suggest the range of capacities in which women served in the war: nurses, relief workers, entertainers and soldiers. Every woman had a distinct personal story, and many volunteered as a means of escaping the social constraints of pre-feminist, mid-century America. Once they arrive "in country," however, the alternating horror and monotony of daily experience drives them to escape to booze, drugs and rock 'n' roll.

Rather than develop each individual character in the cast of seven, the play often uses them interchangeably to stand in for generic people and voices of The War. In fact, the only male role is simply that of "The American Men," played by Mark Brewer. As "Leann" (Angel Novie) puts it when she arrives in Vietnam, "I'm not special. Everybody's here."

During the long first act, the characters become exhausted by the relentless assault on their senses, their ethics and their identities, and feel their humanity slipping away as routinely as the soldiers lose their limbs. When they escape the war to return home in Act Two, they find themselves wounded, once again in a country that seems entirely foreign to them.

A great script becomes an amazing production when the set, the action, and the sound and lighting tell the story as eloquently as the words. Superb interpretation by director Madeline Franklin presents the non-linear material as it should be envisioned: with an abstract set, symbolic costumes and minimal props.

In roles that border on "performance art," the cast gave inspired performances, shifting smoothly in and out of multiple characterizations, going from panic to intoxication, breaking into song, resetting the stage, never missing a cue or an entrance. Libby Einterz ("Martha") and Elizabeth Dawson ("Whitney") rose above the script in delivering key lines that may have been overwritten but were not overacted.

Kiara Wolfe ("Sissy"), Jamie McCalister ("MaryJo") and Marixa Ford ("Steele") added to the excellent talent that keeps Elgin Theatre Company still fresh after more than fifty-five seasons on stage. A Piece of my Heart closes with three more shows, Feb. 16th and 17th at 8 p.m. and Feb. 18th at 2 p.m. at the Elgin Art Showcase, 164 Division Street in downtown Elgin. For more information, go to www.elgin-theatre.org.