Damn Yankees
Music and Lyrics by Richard Adler, Jerry Ross
Book by George Abbott, Douglass Wallop
Directed and Choreographed by Kevin Bellie
Cahn Auditorium, 600 Emerson, Evanston (map)
thru June 15 | tickets: $34-$94 | more info
Check for half-price tickets
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Fun, flashy throwback is a musical theater gem
Light Opera Works presents
Damn Yankees
Review by Michael Gerrity
Light Opera Works’ production of Damn Yankees is a fun, flashy, tight, and true to form revival of the original 1955 Broadway production. The show is filled with classic show tunes, such as: “Whatever Lola Wants, Lola Gets,” “Heart,” and “Goodbye Old Girl.” Brimming with huge dance numbers and slapstick comedy, Damn Yankees went on to inspire the future of American pop culture. A fun twist on the Faustian myth, the classic provides a strong moral lesson and love story with lots of heart.
Joe accepts the deal (with the added escape clause), and is transformed by the devil into 22-year-old baseball phenom Joe Hardy (Brian Acker). We follow Joe’s journey as he leads the Senators to victory, suffers temptation, trickery from the devil, and moral dilemmas. Although Joe is a very genuine person, he struggles deciding where to place his heart. Is his love for his wife Meg (Judy Knudtson) more important than the love for his team and thousands of fans?
Damn Yankees first appeared on Broadway in 1955 during the golden age of musicals. Richard Adler and Jerry Ross wrote the musical as a throwback to the vaudevillian styles of the 1930s, incorporating big dance numbers, catchy tunes, and screwball comedy to tell the baseball fable, creating a massively entertaining piece of theater in the process. In the 1950s, musical theater had become a major part of American pop culture. Show tunes were topping the charts and capturing the attention of the public. At the time, it was important to develop fun and engaging music, while telling a solid story and putting on a spectacular show. Damn Yankees was one of many productions that was able to accomplish these many feats. Those unfamiliar with the production might feel Damn Yankees is a bit hokey, antiquated, or over done, but it’s important to realize that many of the tropes and styles we consider to be cliché spawned from this show. The depiction of the Devil is grand, over the top, and rude, which in turn inspired comedic portrayals of the devil to this day – you can see Damn Yankees’ influence on old Looney Toons cartoons, early Hannah Barbera shows, and even contemporary cartoonist Seth MacFarlane’s “Family Guy”.
 
 
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Older generations will be absolutely floored by this rendition of Damn Yankees and its commitment to remount the original full 1955 production (complete with a 28-piece orchestra!). Since this was the first time I had ever been exposed to Damn Yankees, I was ignorant to the historical significance of this production. Despite that fact, I was still dazzled by the choreography, the jazzy ensemble pieces, beautiful ballads, and spectacular sets.
Aker is a spectacular “everyman,” perfectly suited for the portrayal of Joe Hardy. Sweet, commanding, and innocent, he owns the stage, delivering an especially endearing and moving renditions of the love ballads, “Goodbye Old Girl” and “Near to You.” Erica Evans gives a knockout portrayal of Lola, and is an excellent compliment to Joe and Mr. Applegate, delivering magnificent character work, powerful singing, and an exquisite range of dance. Both Aker and Evans had me rooting for them the entire time.
I can’t forget the virtuosic portrayal of Mr. Applegate by Light Opera Works’ artistic director, Rudy Hogenmiller. Hogenmiller’s vast experience and talent makes him an excellent choice for the role and an absolute crowd pleaser. His dancing, singing, and acting are superb – a true triple threat. He could easily out dance anyone in the show, but performs with grace, sharing the stage with the rest of the talented ensemble.
Despite these spectacular standout leads, the production would be nothing without Kevin Bellie’s expert direction and the rich, entertaining, and comedic ensemble. They are an absolute pleasure to watch. Believable as a struggling baseball team, they truly bring out the irony in having a manly baseball team sing and dance to Broadway show tunes. Their portrayal of the crowd-pleasing “Heart” combines baseball moves with vaudevillian staging to create a show stopping and extravagant dance number. Whether or not you are familiar with Damn Yankees or have a fondness for the golden age of Broadway, you will find this production to be an absolute treat.
Rating: ★★★½
Damn Yankees continues through June 15th at Cahn Auditorium, 600 Emerson (map), with performances Wednesday at 2pm, Friday and Saturday 8pm, Sundays 2pm. Tickets are $34-$94, and are available by phone (847-920-5360) or online through their website (check for half-price tickets at Goldstar.com). More information at LightOperaWorks.com. (Running time: 2 hours 45 minutes, includes an intermission)
Photos by Chris Ocken
artists
cast
Rudy Hogenmiller (Mr. Applegate), Kirk Swenk (Joe Boyd), Brian Acker (Joe Hardy), Erica Evans (Lola), Judy Knudtson (Meg Boyd), Jenny Lamb (Gloria Thorpe), Rick Rapp (Van Buren), Doug Schuetz (Welch), Sarah Blevins (Doris), Maggie Clennon Reberg (Sister), Dan Gold (Sohovik), Ryan McBride (Smokey), Billy Dawson (Rocky), Brian Zane (Vernon), Clayton Cross (Eddie), Darrin French (Henry), Steve Greist (Mickey), Phil Kaiser (Buster), Francisco Lopez, Jr. (Del), Jaymes Osborne (Linville), Kevin Siembor (Lowe), Cameron Turner (Bouley), John Cardone (Postmaster), David Whitlock (Lynch, Commissioner), Frayson Heyl, Danielle Jackman, Claire Kaiser, Kelly Maryanski, Kara Schoenhofer, Lauren Serra (ensemble), Alec Boyd, Jaedin Clark, Evan Lerner, Sean Loftus (boys)
orchestra
Jerry DiMuzio, Gail Crosson, Rose Sperrazza, William Olsen, James Ramey (reeds), Sandy Swanson (horn), John Burson, Kevin G. Wood, Charles Finton (trumpet), John McAllister, James Mattern, Tom Stark (trombone), Debbie Katz Knowles, Tina Laughlin (percussion), Jeffrey Kust (guitar), Linda Madonia (piano, celeste), Elizabeth M. Brown, Nina Saito, Corinne K. Brodick, John F. Ling (violin I), Diana J. Brodick, Chikako Miyata, Carol Yampolsky (violin II), Loretta L. Gillespie, Kathleen Carter (viola), Dorothy A. Deen, Richard Yeo (cello), Joseph Krzysiak (bass)
behind the scenes
Kevin Bellie (director, choreographer), Roger L. Bingman (conductor, chorus master), Katie Beeks (production manager), Adam Veness (scenic designer, technical director), Andrew H. Meyers (lighting design), Jesus Perez, Jane DeBondt (costume design), Palmer Jankens (sound design), Tom Campbell (stage manager), Bridget McDonough (general manager), Rudy Hogenmiller (artistic director), Palmer Jankens (hair and make-up design), Cassy Schillo (props design), Will Dean (master electrician), Diana J. Brodick (orchestra contractor), Jake Wiener (asst. stage manager), Linda Madonia (asst. music director), Chris Ocken (photos)
14-0613
