Year End Roundup

It seems to be a tradition at the end of a year to review significant events that happened, and the Theatre Queen is no exception. So here, in a somewhat descending order of importance are the top theatre stories of 2006.

1. Mercury Theatre producers get Urinetown:

• While this story seems to be getting only ho-hum treatment in the press, I think it is probably the most important story of the year because of the possible far-reaching consequences if the Broadway Urinetown producers win this one. For those in the dark, in May, the Mercury Theatre did a production of Urinetown that they hoped would be a long-running sitdown. It wasn't, and it folded very quickly. Around the same time, a dinner theatre in Ohio did a production, directed by Hunter Foster (the Broadway production's star)'s girlfriend. In November, the producers of the Broadway production sent producers of both productions a nasty letter accusing them of plagarizing the Broadway production and demanding more money, even though both shows had closed months before. The producers of both shows are suing the Broadway producers, and the producer of the original Fringe Festival production has also jumped into the fray, accusing the Broadway producers of plagarizing his production. If the Broadway producers win this, it could hamstring regional companies across the country, severely limiting their artistic choices, and decreasing the quality of productions availble to theatre-goers who can't afford a trip to New York and Broadway ticket prices. The Theatre Queen will be actively following this story and reporting on any new developments.

2. The Schubert Theatre becomes the LaSalle Bank Theatre

• The Theatre Queen is normally opposed to willy-nilly naming of theatres after corporate behemoths, but after seeing the fabulous renovation of the drab Schubert theatre, I'd willing call it the Enron-Halliburton-Bush Theatre if they so named it. The theatre is now gorgeous, inviting, and much easier to get around, making for a much more pleasant theatre-going experience. My only quibble is that for the inaugural production, Golda's Balcony, we sat in the balcony and had a hard time hearing Valerie Harper. The incidental gunfire, bombs, and other noises were extremely loud and effective, but for some reason, Ms. Harper's mic didn't carry her voice as far as it should have. Hopefully this was a drawback of the production and not of the theatre itself. I'll be seeing Doubt in a few weeks and will report on the sound afterwards.

3. Babs Returns

• After 40 years, Barbra Streisand finally returned to Chicago, giving a performance worth every penny of the $374.26 the Theatre Queen paid to see her. The performance focused mostly on her 60's and 80's output, with only The Way We Were, Evergreen, and Stony End representing the 70's (which is the TQ's favorite period of La Babs), and only Music of the Night, Children Will Listen, and Smile representing her post-80's career. Still, she was onstage for over 2 and a half hours, earning a standing ovation for each song. As she was performing on election night, the much reported on Bush segment was not included. However, she still did perform Happy Days are Here Again and gave the audience a bonus, performing Stony End, a song she said she normally doesn't do on the nights that Bush was present. It was a night that will never be forgotten. Babs has said that this tour has helped her get over her stage fright. How about a return to the Broadway stage as her next project? A queen can dream.

4. The Pirate Queen

• Oh, where to begin on this one. Chicago has become a major pre-Broadway testing ground over the past 6-7 years (if only Andrew Lloyd Webber had realized this, The Woman in White may have had a better experience). Excitement was high when it was announced that after more than 10 years, the creators of Les Miz and Miss Saigon were finally going to premiere a new musical (let's not talk about Martin Guerre), and it would take place in Chicago. Unfortunately, the show was not good and was roundly panned. Apparently, they need to go back to their Les-Miz model and write the show in their native language, French, and then hire a top-notch lyricist to translate and modify. Les Miz was such a good show, but Miss Saigon's lyrics were so trite (without the helicopter, there's not much of a show), and the Pirate Queen was even worse. Hopefully, Richard Maltby can provide some needed CPR and get the show ready for Broadway. Less than 4 months and counting.

5. Flora, The Red Menace

• This often-forgotten show got a superb revival by the Heartland Theatre Company in Roger's Park. They used the Off-Broadway revival, which incorporated several new songs and provided a more realistic ending. Performances all around were first-rate. How about a revival of Carrie for next summer?

So there they are, the Theatre Queen's top five theatre stories of 2006. 2007 looks to be even better. Happy theatre!