Adam Fendelman

Packed With Picturesque Majesty, ‘The Chronicles of Narnia: Prince Caspian’ Fights Nobly For ‘PG’ Rating

HollywoodChicago.com — Fri, 16 May 2008 14:51:53 -0400

CHICAGO – For the life of me, I couldn’t exorcise it from my head. Amid all the splendor of such a picturesque film, this one question was like a gnat I couldn’t swat: “Is this really rated ‘PG’?” Indeed, “The Chronicles of Narnia: Prince Caspian” is rated “PG”. But that didn’t come without great scrutiny and much editing.

For starters, Walt Disney Pictures contractually required the filmmakers for the epic film to achieve a “PG” rating. The Motion Picture Association of America (MPAA) granted it following a wide array of amendments.

For example, director Andrew Adamson (who also directed “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” in 2005, “Shrek 2” in 2004 and “Shrek” in 2001 and wrote “Shrek the Third” in 2007) changed a scene with a fallen helmet to make certain it didn’t contain a decapitated head, according to the Los Angeles Times on May 4, 2008.

Read Adam Fendelman’s full review of “The Chronicles of Narnia: Prince Caspian” in our reviews section.

View our full “The Chronicles of Narnia: Prince Caspian” image gallery.

After showing the film to young audiences and gauging their reactions, Adamson in fact made copious edits. Adamson said in a May 15, 2008 interview published on NarniaWeb.com:

“When you sit down and you’re watching it and you see the kids’ faces while making the film, you’re just making an attempt. You’re making it exciting. You’re doing all these things because you’re essentially making the film for yourself. When you start showing it to an audience, that then influences how you feel about the film.”

While the “PG” rating for the recently released “Speed Racer” felt more like an opportune financial decision, the rating for “The Chronicles of Narnia: Prince Caspian” instead felt an appropriate artistic decision. Props go to Disney and Adamson for pushing its importance.

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Despite “Troy”-like fight scenes, this was nothing like the ingenious bloodshed in “300” or the blood-spattering good time in “Gladiator”. In fact, aside from a dribble on a face or two here and there, there was no blood at all. As well, much of the brutality was implied.

Instead of swinging a sword and showing the final result, the film merely illuminated the intent without the follow through.

The decision didn’t detract from the purpose in the slightest, and along with making it more appropriate for younger audiences, it issued a renewed faith that Hollywood can spit out a money-generating product without having to spew gallons of blood and blow stuff up.

The MPAA says a “PG” film “should be investigated by parents before they let their younger children attend. The rating indicates … that parents may consider some material unsuitable for their children and parents should make that decision. There may be some profanity and some depictions of violence or brief nudity.”

Liam Neeson (the voice of the lion Aslan) along with Georgie Henley (right) in “The Chronicles of Narnia: Prince Caspian”.
Photo credit: IMDb

Ben Barnes as Prince Caspian in “The Chronicles of Narnia: Prince Caspian”.
Photo credit: IMDb

Read Adam Fendelman’s full “The Chronicles of Narnia: Prince Caspian” review.

Wide Release of Divisive Film ‘Postal’ From Controversial Director Uwe Boll Canceled

HollywoodChicago.com — Thu, 15 May 2008 21:13:57 -0400

CHICAGO – In response to our negative review of the divisive new film “Postal” from controversial director Uwe Boll, Boll e-mailed us with these simple words:

Uwe Boll wrote:“You should ask yourself: Who gave me my moral rules? Question yourself. Too bad you didn’t like the movie.”

Uwe Boll’s “Postal”.
Photo credit: MovieSet

We responded requesting an interview and he’s amenable. Before we had the chance, Boll at 7:43 p.m. on May 15, 2008 issued to us a statement announcing the cancellation of his film’s wide theatrical release by U.S. theater exhibitors.

Unless the boycott lifts, Boll says it’s his latest film that many audiences won’t see at most theaters.

“Theatrical distributors are boycotting ‘Postal’ because of its political content,” Boll said in the Thursday statement. “We were prepared to open on 1,500 screens all across America on May 23, 2008. Any multiplex in the U.S. should have space for us, but they’re afraid.”

Boll continued: “We have even tried to buy a few screens in New York and Los Angeles. They won’t let us even rent the theaters! I urge independent exhibitors to contact us and book ‘Postal’. Audiences have been expecting the film. I don’t think exhibitors should censor what gets played in U.S. theaters.”

As it currently stands, Boll says Event Film will only release the “R”-rated film in New York, Los Angeles, Chicago, Denver and Tucson, Ariz. Our full “Postal” image gallery can be found here. The film’s plotline is described from the studio with these words:

A religious charlatan (Dave Foley), his mild-mannered nephew (Zack Ward) and a gang of bosomy commandos face off against Osama bin Laden and the Taliban in an epic battle that will determine the fate of the world in “Postal,” which is the latest film from controversial director Uwe Boll (“BloodRayne”).

Boll roasts an entire herd of sacred cows and smashes taboos to smithereens in this over-the-top and hilariously subversive critique of modern-day America.

Inspired by the notorious video game of the same name, “Postal” is a jaw-droppingly original spoof of contemporary culture and an equal-opportunity offender that lampoons religious extremists, minorities, bureaucrats, immigrants, cops, women, the Holocaust, gun nuts and more with even-handed abandon.

The outrageous political and social satire stars Zack Ward (“Transformers”), Dave Foley (“News Radio”), J.K. Simmons (“Spider-Man”), Jackie Tohn (“On the Lot”), Larry Thomas, the Soup Nazi from “Seinfeld,” Erick Avari (“Mr. Deeds”) and Verne Troyer (“Austin Powers: The Spy Who Shagged Me”).

The film is produced by Boll, Dan Clarke and Shawn Williamson.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

‘The Mark of Zorro’ Nails Swordsman, Markedly Complicates Cast, Botches Dialect

HollywoodChicago.com — Thu, 15 May 2008 02:33:55 -0400

CHICAGO – Sometimes less, of course, is more. Live theater often knows that better than anyone. That’s exactly the shrill reminder Chicago’s Lifeline Theatre needed in Katie McLean’s adaptation of the beloved Zorro book by Johnston McCulley.

With 13 actors on stage and 19 additional among management and tech, it’s admirable to see so many components attempt to tick soundly together. Unfortunately, this decision didn’t yield an idyllic symphony. Instead, the choice revealed patently weak links.

Zorro (James Elly, top) teaches Captain Ramon (Robert Kauzlaric) a bloody lesson in “The Mark of Zorro”.
Photo credit: Suzanne Plunkett

“The Mark of Zorro” would have been exceedingly enhanced by replicating the talent of James Elly – who in his Clark Kent-like mode played Don Diego Vega and then played Zorro when it was time for Superman – as well as Rosa de Guindos as Lolita.

His no-romance attempts to woo her were surprisingly comical. Her disenchanted response to his worldly goods is what you’d expect from a highly desired maiden. The two – actually, the three of them – ultimately concocted chemistry as Don Diego Vega took a page from Zorro’s quixotic ways.

As Don Diego Vega, James Elly’s penchant for recurring “fatigue” was a pleasantly unexpected adaptation. Still, some could consider the script hokey and those turned off by the purposefully overdramatic and campy might find themselves repelled.

It’s difficult to know whether dialect coach Elise Kauzlaric was lacking in her critical duty to transform the overall speech of this production or if the predominantly non-Latino cast just couldn’t authentically sell the Latino theme.

While the Persian James Elly nailed the accent, Larry Baldacci and Don Bender also adapted well. Baldacci and Bender deliver sound performances and stand out as supporting characters amid a large cast of many who merely blended in.

I instantly recognized Hanlon Smith-Dorsey from his 2007 production of “Paradise Lost” at the TimeLine Theatre. This time around, he effectively disappears into the character of a friar and interchanges with the role of a governor.

Zorro (James Elly, right) wins the heart of the fiery Lolita (Rosa de Guindos) in Lifeline Theatre’s adaptation of “The Mark of Zorro” by Johnston McCulley, which was adapted by Katie McLean and directed by Dorothy Milne.
Photo credit: Suzanne Plunkett

Manny Tamayo, though, sticks out as the plays unfortunate sore thumb. While no one could possibly come away thinking he lacks energy, there are much subtler ways to redirect it where he’s truly feeling it rather than merely bellowing it. Tamayo is also a director at The Factory Theater in Chicago.

Though it’s unclear why production photography made such a stark statement about Zorro’s mark on James Elly’s back but then never showed it in the actual play, the illustrious “Z” did light up momentarily on a wooden post.

Despite palpable pros and cons in a play that was absolutely too lengthy, the fundamental tenant of romance and the importance of courting is an exquisitely worthy message to bring center stage.

“The Mark of Zorro” runs through June 22, 2008 at the Lifeline Theatre at 6912 N. Glenwood Ave. in Chicago. The play runs on Fridays at 7:30 p.m., Saturdays at 4 p.m. and 8 p.m. and Sundays at 4 p.m. Tickets cost $25.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Chicago’s ‘Shout! The Mod Musical’ an Infectiously Groovilicious, Estrogen-Only Stew

HollywoodChicago.com — Mon, 12 May 2008 00:17:32 -0400

CHICAGO – Meg Ryan, eat your heart out. Since “When Harry Met Sally,” the salacious Danielle Plisz as Green Girl in “Shout! The Mod Musical” takes Ryan’s infamous restaurant eruption to a whole new level on stage.

“Shout! The Mod Musical” in Chicago.
Photo credit: Ben Strothmann

Blue Girl (Lauren Fijol), Red Girl (Megan Long), Yellow Girl (Maggie Portman), Orange Girl (Amy Steele) and Amanda Danskin in the ensemble match Plisz’s energy in a performance that flips through the 1960s like a musical diva songbook.

All cast members of the Chicago production are local talent. The musical is the story of five fab women in London being liberated as children of the swinging 60s with the hair, heart and soul of the twist-and-shout generation.

Though you miss Mike Myers as the seminal 1960s Austin Powers character, there’s plenty of sass and sauce in this exclusive estrogen stew.

The performance is replete with feel-good tunes you’re sure to recognize (regardless of your age) including “These Boots Were Made For Walking,” “Son of a Preacher Man,” “Shout!,” “Downtown,” “I Just Don’t Know What to Do With Myself” and many more.

Most notable about this female-only cast is its strength in numbers without a weak link. Each performer embodies a clearly composite personality and effectively etches a lasting memory.

“Shout! The Mod Musical” in Chicago.
Photo credit: Ben Strothmann

As the women evolve with the London times over the course of this soulful period in history, the narrative voices of an influential magazine advise them on how they should behave. While they progress through this story, some listen ever-so vigilantly while others buck the trend of the times.

The musical is based on a backdrop of 1960s events including the FDA approval of the pill in 1960, the founding of Weight Watchers in 1961, the publication of “Sex and the Single Girl” in 1962 (which encourages women to have careers and pre-marital sex) and the introduction of the male contraceptive pill in 1963 (that they don’t use).

As well, women were first arrested in 1964 for wearing topless dresses, the introduction of the mini-skirt came in 1965 along with the world’s first supermodel, the beginning of the hippie movement in 1966, flower power in 1967, the opening of “Hair” in 1968 and Woodstock in 1969.

“Shout! The Mod Musical” in Chicago.
Photo credit: Ben Strothmann

“Shout! The Mod Musical” is marked as an indisputable crowd pleaser not only by these themes and catchy numbers but by its ability to engage the crowd and even launch them out of their seats.

By the end, men and women of all ages were standing, clapping and singing with infectious vigor.

As a testament to the high-energy fitness associated with the musical’s pace, some of the microphones of the performers even unknowingly peaked out from atop their foreheads.

On opening night, a couple of the girls came out of the gate with performance concern but all were on fire by the curtain call.

“Shout! The Mod Musical” runs through June 22, 2008 at the Drury Lane Theatre Water Tower Place at 175 E. Chestnut St. in Chicago on Wednesdays and Thursdays at 7:30 p.m.; Fridays at 8 p.m.; Saturdays at 2 p.m., 6 p.m. and 9 p.m.; and Sundays at 2 p.m. and 6 p.m.
Tickets cost $45 to $55.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

‘Speed Racer’ Condemns Franchise Dignity, Delivers Sensorial Explosion

HollywoodChicago.com — Fri, 09 May 2008 02:45:52 -0400

CHICAGO – While Hollywood slapped “PG” on the hotly anticipated “Speed Racer” to line its pocketbooks with the widest hodgepodge of people (ahem: kids) everywhere, those same kids will leave the theater with that lollipop nearly sucked to the stick but then yanked away with confusion.

Rather than the “go!” marketing hype, this is a stop-and-go proposition. Chicago brothers Larry Wachowski and Andy Wachowski are ultimately wrangling with a clear identity crisis of who this film is meant for.

Is it the 1967 crowd who adored the American anime version following the Japanese manga creation? Is it for today’s children who didn’t grow up with the franchise but will magically identify with it from scratch because it’s on the big screen? Perhaps it’s for “The Matrix” crowd who slobber over the Wachowski’s sensory orgy?

Read Adam Fendelman’s full review of “Speed Racer” in our reviews section.

View our full, high-resolution “Speed Racer” image gallery.

A slathering of all of the above will be influenced by the omnipresent advertising and power of the Wachowski name, which has been catapulted to stardom with the trail-blazing triumph of “The Matrix” films.

But with summer blockbuster season in full effect for 2008, moviegoers won’t spend in droves the way they recently did with “Iron Man,” which is so far the best-reviewed film of the year.

With a production budget of $140 million, “Iron Man” has already earned $220 million in worldwide box-office receipts in its first six days of release, according to Box Office Mojo. With a production budget of $100 million, “Speed Racer” won’t compare.

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Despite its bevy of blemishes, you can’t deny its color. There’s an intense vibrancy to the environment that – while unrealistic in the real world – is beautifully charming in Hollywood’s CGIville.

Knowing they had to hop beyond another planet in the solar system following 2003’s “The Matrix Revolutions,” the Wachowskis don’t disappoint in the “Speed Racer” special effects department.

The brothers continue to break new ground, and in doing so, they play an important role in inspiring other visionaries to forge new lines of thinking.

Just as “The Matrix” in 1999 had sequences that have been among the most emulated in Hollywood today over the past decade, the Wachowskis continue to up their own bar.

Emile Hirsch in “Speed Racer”.
Photo credit: Warner Bros.

Matthew Fox (middle) in “Speed Racer”.
Photo credit: Warner Bros.

Read Adam Fendelman’s full “Speed Racer” review…

‘Iron Man’ Sits Indisputably in Club of Highest-Rated Superhero Movies Ever

HollywoodChicago.com — Fri, 02 May 2008 12:53:58 -0400

CHICAGO – Move over, Superman. This lush, high-octane playboy never tasted so good.

Robert Downey Jr. fittingly opens “Iron Man” with a cocktail in hand and all the arrogance in the world. As the story goes, his conceit is indeed respected as Earth is his oyster both for the playing and for the taking. With the American marketing machine in full effect for 2008’s first summer blockbuster, the inaugural one lives up to the buildup.

“Iron Man” has already not only etched itself the mark of the first indisputable blockbuster of 2008 and one of the best-reviewed films so far in 2008 but also one of the highest-rated superhero movies of all time – yes, of all time. The film deserves every million it makes.

Read Adam Fendelman’s full review of “Iron Man” in our reviews section.

View our massive, high-resolution “Iron Man” image gallery.

Even before he’s Iron Man, Downey Jr. is authentically transformative as the lush, cash-flushed, comedic, all-powerful and all-knowing Tony Stark.

Even those who aren’t fans of the comic series and just enjoy quality entertainment with fall prey to his allure as well as the blockbuster power of the film in general.

Gwyneth Paltrow as Pepper Potts – Stark’s assistant who keeps him functioning and even remembers his social security number for him – is indeed the subservient, selfless character she’s written to be. Hollywood gives her great hair, too. Paltrow took the role only after Rachel McAdams turned it down.

Iron Man is in the throes of a pitched battle with a determined nemesis in “Iron Man”.
Photo credit: Industrial Light & Magic

Tony Stark (Robert Downey Jr.) in his battle-scarred Mark III armor in “Iron Man”.
Photo credit: Zade Rosenthal

Read Adam Fendelman’s full “Iron Man” review…

Chicago’s Political Machine Runs Relatively Swimmingly in Strawdog Theatre’s ‘Old Town’

HollywoodChicago.com — Thu, 01 May 2008 09:52:37 -0400

CHICAGO – As a testament to its set design, it wasn’t immediately clear if certain structures were naturally part of the Strawdog Theatre space or if they were fabricated specifically for the “Old Town” production. It turned out to be the latter as this story of Chicago’s political machine unfolded with song, dance, wit, a relatively large cast and a 10-piece live band.

In double-sworded fate, this relatively large cast turned out to be both a blessing and also its burden. The story’s set at a fictional hotel on election night where the Weltz dynasty wrangles with the Chicago voting public. Despite characters galore, Kat McDonnell as Cindy Weltz – the daughter of the man who’s currently running but just can’t cut it – melts nearly everyone else away.

Karen Mosher (Shannon Hoag, left) digs up a scandal between the Cook County president’s daughter (Cindy Weltz) (played by Kat McDonnell, center) and campaign manager Daniel Deering (John Ferrick, right) in Brett Neveu’s world-premiere musical “Old Town,” which runs from April 27 to May 31, 2008 at the Strawdog Theatre in Chicago.
Image credit: Don Cardiff

While she’s musically sound, it’s her raw emotion – really it’s her face – that tells the true story every actor strives for. McDonnell (a Strawdog ensemble member) always looks like she’s about to burst into tears, and though she never does and even finds reason to rejoice, she authentically wears her heart on her sleeve.

As well, Strawdog ensemble member John Ferrick plays Daniel Deering with the vigor you’d only find in the campaign manager of a man who’s running for president (not of the U.S. but of Chicago’s Cook County). He’s a two-faced balance between a man who flirts the shady political grey matter and another gentleman who merely longs for love.

While the leader of a musical quartet sounded best when his trio chimed in and the gaggle in general was a nourishing addition to the show, lighting was exactly the focused lens it needed to be. The behind-the-scenes band set an apt mood with the added benefit of actually being there to do so.

“Old Town” direction at the hands of Kyle Hamman fit like a glass slipper. The choreographed movement flowed like a majestic waterfall. Background bodies were always present and neither detracted from the spotlight nor added too much to it, which helped to keep the scene active and feeling like a vital night in Chicago.

While Gregor Mortis nailed casting with decisions in McDonnell, Ferrick and a few others, the play beamed a bright light on some lucid weak links. Alternating between such natural talent and such an unnatural lack thereof drew you in, knocked you out, drew you back in and knocked you back out.

Either a smaller, more focused cast or more McDonnell-like actors and singers would have turned what deserved a bravo or two into a boisterous standing ovation.

“Old Town” runs through May 31, 2008 at Strawdog Theatre at 3829 N. Broadway Ave. in Chicago. Fridays and Saturdays at 8 p.m. Sundays at 7 p.m. Tickets cost $20.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Sobering Documentary ‘At the Death House Door’ to Premiere in Chicago From ‘Hoop Dreams’ Filmmakers

HollywoodChicago.com — Sun, 27 Apr 2008 02:36:15 -0400

CHICAGO – The Texas “killer burger” is literally sold right across the street from a state-mandated death house that brings convicted felons to their legal demise.

While the death penalty is believed by many to serve a sort of justice to the guilty the majority of the time, what happens when the wrongly accused fall prey, too? Moreover, is it ultimately right to even treat the guilty with such eye-for-an-eye repercussion?

The documentary “At the Death House Door” from “Hoop Dreams” filmmakers Steve James and Peter Gilbert will have a one-week engagement in Chicago at the Gene Siskel Film Center beginning on May 10, 2008.
Image credit: The Independent Film Channel

The United States has wavered back and forth in its stance on the death penalty. Advocates for and opponents against it are large and fervent on both sides of the fence. Some 18 years later, Chicago Tribune reporters Steve Mills and Maury Possley in 2005 began investigating inconsistent evidence in the case of Carlos De Luna. He was executed in 1989.

Pastor Carroll Pickett in “At the Death House Door”.
Image credit: Kartemquin Films

De Luna’s investigation has prompted pastor Carroll Pickett to speak up. For 15 years, Picked served as the death house chaplain at the infamous “Walls” prison unit in Hunstville, Texas. As Pickett presided over 95 executions – including the world’s first lethal injection – he was each person’s sanctuary in their final moments.

The story of Pickett, De Luna and countless others is being told now in the “quiet powerhouse” documentary “At the Death House Door”. The film’s message is now heating up the country’s burners after its world premiere on March 9, 2008 at the South by Southwest (SXSW) film festival.

“At the Death House Door” filmmakers Steve James and Peter Gilbert already have potent storytelling power with audiences after the landmark 1994 documentary “Hoop Dreams” (in which James directed and Gilbert produced). Gilbert is a Chicago native.

They’re bringing “At the Death House Door” to Chicago for a one-week engagement at the Gene Siskel Film Center starting on May 10, 2008 at 8 p.m.

For that screening, James and Gilbert will be in attendance along with executive producer Gordon Quinn (a founding member of “At the Death House Door” production company Kartemquin Films). The Tribune Company is also a production company for the film, which is being distributed by the Independent Film Channel (IFC). The film will air on IFC on May 29, 2008 at 9 p.m. ET/PT.

With more than 405 executions under its belt since 1976 alone, Texas is far and away the leading state in the U.S. for executions by way of the death penalty. Since 1976 when the Supreme Court reinstated the death penalty, 38 states have adopted the practice. Today, 37 states use lethal injections to execute inmates. Nebraska still uses the electric chair.

The film is prompting discussion for potential change. According to IFC: “On March 5, 2008 at the Texas capitol in Austin, a team of legal experts, elected officials and religious leaders met to discuss current issues surrounding the death penalty including lethal injection, criminal justice, wrongful conviction and the role of religion and values in executions. Each discussion was introduced by a clip [from] ‘At the Death House Door’.”

From 1976 to Sept. 28, 2007, 1,099 inmates were executed, according to the Death Penalty Information Center. Following a seven-month national moratorium, the first Texas executions have been scheduled for this summer. Charles Dean Hood is scheduled in June 2008 and Larry Donnell Davis is slated for July 2008.

Stay tuned for the HollywoodChicago.com interview with directors Steve James and Peter Gilbert as well as seminal “At the Death House Door” interview subject pastor Carroll Pickett.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Pie Maker, Loony Boy Steal Rightful Spotlight From Sweeney Todd in Chicago Musical

HollywoodChicago.com — Fri, 25 Apr 2008 17:17:03 -0400

CHICAGO – While Johnny Depp’s portrayal of the demon barber of Fleet Street in the 2007 film iteration sells you on his fiendish ways, actor and singer David Hess in the musical bobbles more in purgatory rather than living hysterically in hell.

In the musical thriller “Sweeney Todd: The Demon Barber of Fleet Street,” which has a two-week Chicago engagement now through May 4, 2008, two other supporting characters – the pie-making Mrs. Lovett and the batty Tobias – rise above to take top presence prizes.

The musical “Sweeney Todd: The Demon Barber of Fleet Street”.
Image credit: The Marketing Group

While Hess doesn’t underwhelm and is a sound selection for the lead role, neither does he overwhelm in the ferocious way he needs to. The production with only 10 actors and musicians, which began in 2005 by British director John Doyle as a financial necessity, stayed that personal in future productions as an artistic choice.

“It’s a positive way at looking at smallness and intimacy,” Doyle said about the production. “What we’re all searching for ultimately is the honesty of storytelling. [Central to this production] is the need to make the audience do some of the work. We ask them to use some of their imagination. There’s no barber’s chair, for instance. You can imagine it.”

As well, Sweeney Todd’s victims are taken prey through the reddening of background light and screeching sound – too long and painful to hear, by the way. Indeed, you’re more intimately engaged in each note and calculated decision within the music of legendary composer Stephen Sondheim.

That said, while the 2007 film depiction features a balanced cast with Sweeney Todd as the rightful standout, the musical performance that’s currently touring 20 U.S. cities (ending in June 2008) is decidedly plagued with some weak and undistinguished links. The performance also feels too long.

Helena Bonham Carter as Mrs. Lovett in the 2007 film as well as Judy Kaye as Mrs. Lovett in the musical both win you over in different ways. They both invade their characters – completely in body and mind – but Kaye in the musical performance adds a refreshing twist of comic relief.

The cast of the musical “Sweeney Todd: The Demon Barber of Fleet Street”.
Image credit: The Marketing Group

The audience craved more comedy, though, whether from her or from the dark and dreary-toned performance in general.

While we’re not handed wit from Edmund Bagnell as Tobias, we’re instead delightfully surprised by his unexpected, standout performance.

Bagnell infuses in his character ornately intense ticks, impeccably overdramatized enunciation (the repeatedly memorable musical line “the demon barber of fleet street,” for example) and is ultimately revealed as one of the stars of the show.

In the concluding ovations, Bagnell won the crowd’s applause – along with Kaye as Mrs. Lovett – even over Hess as story subject Sweeney Todd. Just as so many of the actors were multi-talented musicians, Bagnell is also committed to memory for his uniquely quick-noted violin.

To inject more evil in his wicked ways, Hess should have taken a page from the natural and authentic way Bagnell played the straight-jacketed fanatic.

Alan Rickman was Judge Turpin in the 2007 film whereas Keith Buterbaugh tried in vain to act like him. Buterbaugh had the right idea in his eerie, skin-crawling scene where he fights his sexual feelings toward adopted daughter Johanna, but he ultimately needed more of it to leave a lasting impression.

Lauren Molina as Johanna fit the bill of a shackled, fair maiden and is especially remembered for her lines where she reminds the man who’s courting her for marriage – Anthony (played by Benjamin Magnuson) – that she doesn’t even know his name.

Anthony’s recurring song “Johanna” with the romantic lyric “I’ll steal you, Johanna” is the musical’s standout number as it’s sung in beautiful pitch and screams out in such clear key.

After countless musical performances around the world, what became “Sweeney Todd: The Demon Barber of Fleet Street” the musical and then the film (both in 1936 and 2007) first began as the story entitled “The String of Pearls” in 1846. It was published in a British penny dreadful and was likely penned by Thomas Prest.

The musical “Sweeney Todd: The Demon Barber of Fleet Street” runs through May 4, 2008 at the Cadillac Palace Theatre at 151 W. Randolph St. in Chicago every day except for April 28 at 7:30 or 8 p.m. on most nights. Tickets range in price from $25 to $75.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

New Poster Surfaces For ‘The Dark Knight’: ‘Welcome to a World Without Rules’

HollywoodChicago.com — Thu, 24 Apr 2008 23:49:18 -0400

CHICAGO – The Joker played nice on Thursday and delivered new fan fruit for “The Dark Knight”: a movie poster sporting the new statement “welcome to a world without rules”. He used his popular viral site WhySoSerious.com to unleash the award.

Feast your eyes on the new poster below. View a high-resolution version here. View our full image gallery here for “The Dark Knight”. Read our extensive “The Dark Knight” coverage here. Stay tuned for another marvel in four days, too, which is speculated to be a new trailer.

This new poster for “The Dark Knight” was revealed on April 24, 2008 from a WhySoSerious.com viral marketing campaign. View a high-resolution version here.
Image credit: Warner Bros.

“The Dark Knight” from Warner Bros., which features Heath Ledger, Christian Bale, Aaron Eckhart, Maggie Gyllenhaal, Michael Caine, Morgan Freeman, Gary Oldman, Cillian Murphy and Anthony Michael Hall, is scheduled to hit theaters everywhere on July 18, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com