2015-257-E Arts - Deep Dish Theater Company Arts Grant

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DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 Review: Strong Deep Dish production makes the most of'The Landing' The play's first mini musical whets the appetite, but the succeeding two pieces are far less nourishing. John Allore, left, and Neil Bullard in Deep Dish Theater's production of"The Landing." JONATHAN YOUNG BY ROY C. DICKS-CORRESPONDENT "The Landing" is composer John Kander's first attempt at writing with another lyricist after the late Fred Ebb ("Cabaret" and "Chicago"). Although Greg Pierce's script and lyrics have many funny and moving moments, the show's three separate musicals are sketchily drawn and have surprise endings that need more coming before them to have real impact. Nevertheless, Deep Dish Theater's first-rate production does its best to minimize any weaknesses with fine acting, sensitive musical direction (Glenn Mehrbach), effective set design (Thomas Mauney) and tight direction (Paul Frellick). The first, and best, piece is "Andra," an affecting story of carpenter Ben (John Allore) who is remodeling a house where young Noah (Neil Bullard) and his parents live. At first, the taciturn Ben is put off by precocious Noah's interfering questions. But a budding relationship forms when Ben gets Noah interested in astronomy, and their outings with a telescope are very father-and-son. (Noah's stock broker father is never around.) Noah's mother (Erin Tito) firmly tries to squelch the relationship, her reasons eventually made clear by what Noah inadvertently spots in his telescope one night. Allore and Bullard beautifully project their characters' hurts (Ben's marital problems; Noah's bully- scarred days), subtly supported by the four-piece orchestra's intimate underscoring. This lovely miniature whets the appetite, but the succeeding two pieces are far less nourishing.