Death Takes a Holiday
Music and Lyrics by Maury Yeston
Book by Peter Stone and Thomas Meehan
Directed by Elizabeth Margolius
Circle Theatre, 1225 W. Belmont (map)
thru May 26 | tickets: $30-$32 | more info
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Vocals to die for!
Circle Theatre and Graham Sullivan Interests, LLC presents
Death Takes a Holiday
Review by Lauren Whalen
There weren’t many people in the audience. Of course, the performance of Death Takes a Holiday I attended not only coincided with Dining Out for Life but took place during a week with a record number of openings. It’s unfortunate, as the stellar vocals managed to overcome the inconsistent script and somewhat awkward staging and choreography. However, I wonder if Death Takes a Holiday will find its Chicago audience during its nearly month-long run. The production is very good, but the show is very specific.
It’s an interesting premise for a musical and a sharp contrast from Anything Goes, which I’d reviewed the previous night. Death Takes a Holiday focuses on Maury Yeston’s complex narrative lyrics and challenging melodies. I’m not well versed in musical technicalities, but I saw it as more of an operetta with definite Stephen Sondheim influences, with a hint of Gilbert and Sullivan. Death Takes a Holiday is a show for singers: singers must perform it, and singers will enjoy it most. It doesn’t pander, yet at times I wish it would, just a little.
Peter Stone and Thomas Meehan’s book has a fair amount of dialogue, and as a result, Act I drags with needless exposition and excessive “discovery” on Death’s part (“This is what fried eggs taste like!” “This is sex!” “Wow!”). Thankfully Act II picks up as the Lambertis and their guests start to wonder why no one in Europe has died all weekend, and Grazia and “Sirki” find themselves drawn to each other. With such a melodramatic plot, the blocking and choreography shouldn’t be too realistic – yet Elizabeth Margolius’ direction and Kristen Gurbach Johnson’s movements are overly symbolic and stilted. Slow motion and freezes are difficult to do well, and they really don’t work here.
Flaws aside, Death Takes a Holiday is worth it for the cast’s gorgeous voices. Royen Kent is not only tuneful but also very funny as a befuddled butler, and Khaki Pixley has some spirited moments as a freewheeling American widow. Denise Tamburrino’s worried mother lament is touching and beautifully sung, and Andrea DeCamp’s Daisy is the quintessential beta female as she sweetly lusts after the confused Corrado. Lewellyn occasionally goes sharp, but otherwise ascends the mountain of incredibly strenuous music with ease. And McClain’s wonderful soprano alone is worth the price of admission. Her Grazia faces the ultimate conflict – revel in a second chance at life, or willingly enter a tragic romance – and every note and moment is completely convincing. The cast is backed by a small but powerful onstage orchestra, directed by the company’s Artistic Director, Jon Landvick (who also plays first keyboard).
Despite some major mishaps, Death Takes a Holiday is an interesting, philosophical approach to the heavy issue of mortality. It doesn’t have mass appeal and doesn’t try, and there’s something to be said for that. For thinkers and singers alike, Death Takes a Holiday is worth a look, and a listen.
Rating: ★★★
Death Takes a Holiday continues through May 26th at Stage 773, 1225 W. Belmont (map), with performances Thursdays-Saturdays at 8pm, Sundays 3pm. Tickets are $30-$32, and are available by phone (773-327-5252) or online through Stage773.com (check for half-price tickets at Goldstar.com). More information at Circle-Theatre.org. (Running time: 2 hours 30 minutes, includes an intermission)
Photos by Jen Bludgen Duty
artists
cast
Nate Lewellyn (Death, Prince Nikolai Sirki), Laura McClain (Grazia), Kevin M. Grubb (Duke Vittorio Lamberti), Denise Tamburrino (Duchess Stephanie), Steve Greist (Corrado Danielli), Khaki Pixley (Alice), Ryan Gaffney (Major Eric Fenton), Andrea DeCamp (Daisy Fenton), Rus Rainear (Baron Dario Albione), Rosalind Hurwitz (Contessa Evangelima di san Danielli), Royen Kent (Fidele), Stephanie Souza (Sophia), Tommy Bullington (Lorenzo), Erin Daly (Cora)
Orchestra: Jon Landvick (Keyboard I), Marta Johnson (Keyboard II), Diane Hanson, Barbara Saks (Flute), Loren J. Connell (Clarinet)
behind the scenes
Elizabeth Margolius (director), Daren Leonard (asst. director), Jon Landvick (music director), Kristen Gurbach Johnson (choreography), Mark R. Abrahamson (stage manager), Peter O’Neil (scenic design), Julian Pike (lighting), Patti Roeder (costumes), Adele Powers (props design), Nicholas Reinhart (production coordinator), Jen Bludgen Duty (photos)
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