Late Nite Catechism
Playwright: Vicki Quade & Maripat Donovan
At: Royal George Theatre, ( 312 ) 988-9000; $30
Open Run
Mary Shen Barnidge
On the day after Christmas, a few Jews and Protestants were in evidence at catechism class. No, they weren't all converts, godparents or baptism sponsors, although it pleased the Teaching Sister to think that they might be.
A catechism class, for those who don't know, is a sort of basic training exercise in the theory and practice of Catholicism. The instructors, secure in their guarantee of lifetime employment, might display widely varying levels of competence ( or so I'm told ) , but they are unanimous in their dedication to guiding their charges in the paths of righteousness. OUR instructor—played at this performance by Rosie Newton, one of six actresses sharing the role on different nights—proclaims herself a 30-year ( 'THREE popes!' ) schoolroom veteran, maintaining discipline with a drill sergeant's severity, even as the framing device of this being an adult class allows her to deviate from the lesson plan for personal commentary.
And therein lies the secret to this indefinable show's surprising success since its premiere in 1993, with productions currently running throughout the United States ( three in the Chicago area alone ) . Irreverent, but never blasphemous, authors Vicki Quade and Maripat Donovan reject both the exaggerated cuddliness of the Nunsense/Patent Leather Shoes canon and the petulant fury of Christopher Durang and his ilk. Though its gentle humor labels it a comedy, the voice of Late Nite Catechism never exceeds the plausible limits of a seasoned educator employing topical references in an attempt to hold the attention of fidgeting students.
Catholicism in America, as Sister reminds us early on, is not simply a religious orientation, but a cultural identity as rich and indelible as that of their brethren in other faiths. Late Nite Catechism's replication of the parochial school experience not only provides an occasion for nostalgic reminiscence among the initiated, but offers curious outsiders the opportunity to share in it within the safe literary conceit of a play.
Menopause: The Musical
Music and lyrics: Jeanie Linders
At: The Apollo Theatre, 2540 N. Lincoln, ( 773 ) 935-5100
Open Run
By Catey Sullivan
If it's an evening of high falutin' intellectual stimulation culled from annals of feminist theory you're after, Menopause: The Musical is not your show.
However, if you want to revel in the crowd-pleasing silliness of vintage rock tunes rejiggered with lyrics examining hot flashes, vibrators, estrogen replacement therapy and other matters about which men are forever clueless, head on over to the Apollo Theater.
The humor is obvious, broad, somewhat stereotypical and about as subtle as a manic-depressive who has forsaken his Lithium.
Still, it's hard not to break into a gleeful smile when a sex-deprived 'housewife' serenades a bright pink personal massager with an ecstatic rendition of 'Only You.' Ditto for the bang-up finale rendition 'YMCA,' lyrically altered to celebrate women.
In Menopause: The Musical, book writer and lyricist Jeanie Linders leavens the mind- and body-blowing symptoms of the Change with humor. And heaven ( or wherever ) knows, humor is an essential survival tool is getting through the torrid symptoms of menopause—especially as Linders presents it. The author writes of the symptoms of menopause as a cross between the worst side effects of electric shock treatment ( discombobulating memory loss ) and heat exhaustion ( uncontrollable sweats, chills, and a creeping sense of one's impending doom ) .
The four women in the cast represent types—or rather, under-represent them, since there doesn't seem to be a lesbian in the group. The quartet includes the Power Woman ( Wydetta Carter, a woman with a gorgeous belt voice and an easy grace as a dancer ) ; the Soap Star ( Judy Blue, wry, sophisticated and sultry ) ; the Earth Mother ( Joan Krause, naturally comedic in every move she makes ) ; and the Iowa Housewife ( Jeanne Croft ) . The four run into each other at the lingerie counter of Bloomingdale's and, in a bit of forced dialogue, discover they're all passing through what was once called the Silent Passage.
Through the floors of Bloomie's, the women bond and sing about their lives and the ch-ch-ch-changes they are enduring. There's a fair amount of confusion on display: Why is the Iowa Housewife talking about moaning whores, the Earth Mother Wonders after the former makes a crack about hormones.
Thankfully, the seismic shifts in body ( an hourglass shape reconfigures itself into a glass of water ) and mind ( 'I'm a lot pushier now. When I'm not crying.' ) are infused with songs and comedic patter. Linders has succeeded in putting a comic spin on a life event that has the potential to be tremendously painful and—as long as we live in a society where the 'ideal' woman is younger than 20 and emaciated—truly damaging.
As the Soap Star, Judy Blue brings up the issue of ageism when she melodramatically ( as befits a soap star ) bemoans the nubile, young lass her network has just hired. The issue is flitted over ever so lightly, just enough to make the point needle into your brain before we're onto the next song.
Menopause: the Musical is out for entertainment, not heavy-duty politics. And thanks in large part to an excellent cast, the show works.
I Love You, You're Perfect, Now Change
Book & Lyrics: Joe DiPietro; Music: Jimmy Roberts
Royal George Theatre, 1641 N. Halsted, ( 312 ) 988-9000
Open run
BY SCOTT C. MORGAN
Perhaps it's the guffaw-able title. Or its safe affirmation of the tired 'Men are from Mars, Women are from Venus' stereotypes that send heterosexual audiences into a tizzy when they recognize themselves on stage.
Whatever it is, the musical revue I Love You, You're Perfect, Now Change continues to play and play. It has been running off-Broadway since 1996 and in Chicago since 2002.
The success of I Love You, You're Perfect, Now Change has been a calling card for composer Jimmy Roberts and especially for playwright Joe DiPietro. In 2004, DiPietro had four productions playing in the Chicagoland area: Over the River and Through the Woods at the Mercury Theater, The Thing About Men now in its Midwest premiere in Munster, Ind., and the pre-Broadway gamble of All Shook Up now at the Cadillac Palace.
Taking stock of I Love You, You're Perfect, Now Change now only makes you realize how by-the-numbers the show is. It blatantly reaches out to multiple age demographics by presenting couples in song and sketches through different stages of dating, marriage and old age. Easily identifiable relationship and gender stereotypes are trotted out in songs like 'Why? Cause I'm a Guy' or 'A Stud and a Babe.'
Only now and then does a number stick out for originality ( the bridesmaid who is actually happy with her single status in the song 'Always a Bridesmaid' or the elderly singles cruising each other at a funeral ) . Otherwise, I Love You, You're Perfect, Now Change relies heavily on an entertaining and talented cast to elevate the pleasant but never-challenging material.
Thankfully, the current Chicago cast is more than up to the job. Ron Rains and Jacquelyn Ritz are amazing with their character transformations respectively ranging from a prison convict to a physically drained mom. The adorable Sophia Hinshelwood and Matthew Amador ( who has a goofy David Schwimmer-look about him ) also do great character work and sing heavenly.
Under Joel Bishoff's quick-change direction, the cast and their skillful illumination of so-so material turns out to be the real reason to see the show. Feel safe to drop off your visiting parents or straight siblings at the show ( if they're not offended by its PG-13 sensibilities ) . They'll get to marvel at great comic performances from big-city actors, even if their supporting platform has all the comforting charm of a suburban strip mall.
