Review Roundup: WONDERFUL TOWN At The Goodman Theatre

Goodman Theatre presents Mary Zimmerman's revival of Wonderful Town, extending the show through October 23. Featuring a company of over 40 actors and musicians, the Goodman production of Leonard Bernstein's whimsical love letter to Manhattan marks the first major revival in more than 10 years.

The musical is based upon the hit Broadway play My Sister Eileen by Joseph A. Fields andJerome Chodorov and the autobiographical short stories by Ruth McKenney. Fields and Chodorov later collaborated with lyricists Betty Comden and Adolph Green to create Wonderful Town-the musical adaptation of the play, which features 20 Bernstein songs-including "Ohio," One Hundred Easy Ways," and "A Little Bit in Love."

Let's see what the critics have to say...

Chicago Tribune, Chris Jones: "But I have to say that when Ruth and Eileen, the two transplants from Columbus, Ohio, arrive in their subterranean Greenwich Village hovel (in Todd Rosenthal's droll, primary-colored design, the dump arrives from the pit, as if from hell) and encounter a dude playing a cockroach in a giant suit designed by the inspired costumer Ana Kuzmanic, it is really funny. Really funny. When the giant insect then exits through the refrigerator, excessive guffaws could be heard Sunday night coming from the posh seats."

Chicago Sun Times, Hedy Weiss: "Meanwhile, on a plane moving through the cardboard clouds overhead are Ruth Sherwood (Bri Sudia, making an unquestionable star turn) and her younger sister, Eileen (Lauren Molina, whose speed, lightness and coloratura voice are custom-made for the role). They have just fled their safe but suffocating lives in Columbus, Ohio (and will soon pine for home in the charming song, "Ohio"), to make careers in New York. And though they're totally opposite in every way, at the heart of this story is the fact that the two young women are great friends who look out for each other through thick and thin."

Time Out Chicago, Kris Vrie: "Music director Doug Peck brings an 18-piece orchestra beautifully to bear on Bernstein's highly eclectic score, which includes pastiche takes on conga, ragtime, Irish love ballads and hep-cat swing, among other moods. And the cast is, well, pretty wonderful; the supporting roles are for the most part underwritten, but a number of actors give their all to filling them in, notably Wade Elkins as a nerdy suitor of Eileen's and Jordan Brown as oafish out-of-work football player "The Wreck."

Stage and Cinema, Lawrence Bommer: "...Featuring beautiful ballads and incandescent dancing, including jigs, the Lindy Hop, jitterbug and a convulsive conga line, it's got pizzazz to please and major moxie. An unalloyed Goodman Theatre triumph, Mary Zimmerman's rightly wonderful revival of this jazz jewel is the destination visit to downtown Chicago. (It should also come full circle and return to sender, a.k.a. New York City...)"

ChicagoCritic, Tom Williams: "Using Todd Rosenthals colorfully stunning set design inspired by a graphic illustration by Steven Duncan, Zimmerman ekes all the comedy from Joseph A. Fields and Jerome Chodorov's book and from Betty Comden and Adolph Green hysterical lyrics with many of those precious little Zimmerman additions that garner laughs. Her staging is manic, fun, and breathtaking!. From the opening ensemble number, we get the feeling that Wonderful Town will be funny, heartfelt and hopeful as we experience NYC in the 1950's. I can't remember a finer musical comedy opening number that sets the audience's expectations better!"

Around The Town Chicago, Alan Bresloff: "The music in this production is, as I said earlier, the way a musical should be. An overture and even a shorter entre act'e to start the second act. "Ohio", "Conga", "A Little Bit In Love", "Swing" and "It's Love" are the songs that will make an impression, but the truth of the matter is, you will walk out of the Goodman, head towards your car, or the bus, with a smile on your face and a melody in your heart. Let's face it! Isn't that why one attends the musical theater? Thank you Goodman Theatre Board of Directors for giving this historical piece back to the audiences."

NewCity Chicago, Aaron Hunt: "Karl Hamilton is wonderful as the anti-leading man who discovers, through song, that he is in love. We completely believe him and it is essential that we do because that's pretty much the entire plot. His opera/Broadway voice warms. Chameleon-actor Steven Strafford provides a slime-ball with a heart of gold and Wade Elkins' drugstore clerk charms with winning habit-twitches. George Andrew Wolff adds his golden tenorial vocals and Goodman scores! (Aaron Hunt)"

Chicago Theatre Review, Colin Douglas: "...Mary Zimmerman has skillfully guided her talented cast, many of whom play a variety of roles, through Ruth and Eileen's urban odyssey. Choreographed with wit and whimsy and a good deal of athleticism by Alex Sanchez, this show is continually moving and shaking. There are a few charming ballads, such as the haunting "Ohio," the lovely and reflective "A Quiet Girl" and the beautifully simple, "It's Love.""

ChicagoLand Theatre Reviews, Dan Zeff: "...Which brings us to Bri Sudia, who plays Ruth. It isn't an exaggeration that for much of the evening, Sudia carries the show. She provides most of the best comic moments as Eileen's wise cracking and self-deprecating sister. But Sudia is not only a superb comedian and an oasis of intelligent humor amidst the show's numerous over the top moments, her singing and dancing are top quality."

The Fourth Walsh, Katy Walsh: Director "Mary Zimmerman unapologetically celebrates the schmaltz in her production. Zimmerman doesn't try to ground this frolic. She keeps it frothy. She has Todd Rosenthal construct the NYC skyline to be simplistic, almost cartoonish, cut-out buildings...The first appearance of this slick scenery transition has the audience cracking up over a cockroach. The bug is scurrying to vacate for the new residents. The visual and timing is cute. The show has plenty of shticks like this that kept the audience continually cackling at my show."

Third Coat Review, Andrea Paim: "While these characters carry the majority of the show, the wildly talented ensemble truly ties the piece together. The choreography by Chicago native Alex Sanchez succeeds in blending a variety of eclectic and classical dance styles. Sanchez's choreography is highlighted by the stunning costume design (Ana Kuzmanic). The vivid colors, patterns and shapes utilized by Kuzmanic not only beautifully capture the story, but also stay true to the style of the 1950s."

(Photo Credit: Liz Lauren)