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THEATRE SHOWS
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Theater Shows
All the Fame of Lofty Deeds
Venue:
Chopin Theatre
1543 W. Division St.
Chicago, IL 60622 Map This Place!Map it
Cost:
$25-$29
Tickets:
www.thehousetheatre.com or (773) 251-2195

Author
Mark Guarino

Company
The House Theatre of Chicago

Styles

Related Info:
Official website

Performances
Runs November 12, 2009-December 20, 2009

Friday8 p.m
Saturday8 p.m.
Sunday7 p.m.
Thursday8 p.m.

reviewed performanceCenterstage Show Review
Reviewer: Justin Sondak
Sunday Nov 15, 2009

The House's fictional bio of Lofty Deeds, a composite of country music legends great and small, is a gratifying, if uneven, showcase for a cabal of Chicago talent. Imaginative designers, triple-threat actors, and meticulous musicians adapt Mark Guarino's poetically formulaic script and Jon Langford and friends' gritty, hard-luck soundtrack, on balance, successfully. But the company's trademark stage flash can't make up for the show's weaker moments.

As twangy frontman Lofty, Nathan Allen proves a better singer than actor, rather convincing as a swaggering variety show star, less so as the booze-soaked, pill-popping old man the corporate empire has swallowed whole. Patrick Martin, as dearly departed brother Lefty, stumbles through his off-tempo personal anthem, "Nashville Radio," but his measured anger redeems the role.

The remaining ensemble more than pulls its weight. Brandon Ruiter steals "Doodle Soap Radio Time" as TV mascot Mr. Pokey ("the pokiest horse around"), the smiling face of a superficial entertainment industry. Slinking through the part of Tumbleweed, Corri Feuerstein's stunning lower register melts through both the title song and "Hank Signs His Contract." And the non-Deeds actors slay as "The Jeffs," a hilarious five-headed body of executive doublespeak.

Hank, Elvis, and Johnny married fascinating women, but Guarino's boys-with-toys script misses an opportunity for a strong female presence. In place of Lofty's unseen wife is the Woman in the Dollar Dress, a vehicle for Tommy Rapley's solid choreography but not much else. The captivating missives on the frontier and artistic integrity steer us to Lofty's long dark night of the soul. Whenever his self-loathing starts to drag, another rousing tune brings the show back to life. Much praise is due to Langford for providing rock- and punk-infused tunes, and to the set's skeletal aesthetic, warmly realized by Lee Keenan. All the Fame never surpasses the sum of its parts, but even a B-Plus House show is more exciting than many of its peers' A-games.

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