AN OLDIE REWORKED

“The Boys from Syracuse” is a brand new version of the 1938 musical by Richard Rodgers and Lorenz Hart, which was itself a reworking of William Shakespeare’s “The Comedy of Errors.” In the Anatolian city of Ephesus, bragging, philandering soldier Antipholus (Rod Thomas) and witless servant Dromio (Devin DeSantis) have their lives thrown into chaos when their long-lost identical twin brothers (who happen to have the same names) sail into town from Sicily. The visiting Antipholus (Ryan Reilly) and Dromio (Andrew Keltz) wind up being mistaken for their brothers by their brothers’ wives (Susan Moniz, Melody Betts), no less. The twins’ parents show up to clarify who’s who, so all ends more or less happily by the final curtain.

Prior to Rodgers’ collaboration with Oscar Hammerstein on “Oklahoma,” most Broadway musicals paid little attention to the story, which served only as the flimsiest excuse to get the performers to the next pretty ballad or splashy production number. Director-choreographer David H. Bell’s new adaptation is a vast improvement over the original, updating the time period from ancient times to the swing era of the 1930s, when the show was actually written. The story is still threadbare, but at least the show now attempts to make some amusing observations about good first impressions, faulty assumptions, familial identity, loyalty and sexual politics. Although the show is never in danger of turning too serious, hardly a few moments go by before the next outburst of exuberant dancing.

The show is a true ensemble effort, with the entire cast turning in solid performances, powerful singing, terrific dancing and great comedic timing. The real stars, however, are the fantastic Rodgers and Hart songs (with three others borrowed from other of their shows), re-orchestrated in jazz and swing idioms of the era, and David H. Bell. Long a champion of forgotten musical treasures, Bell is a terrific choreographer, whose showmanship rivals some of Broadway’s best, with the high-spirited energy of a Danny Daniels tap routine or the storytelling fluidity of a Gower Champion showstopper. Filled to bursting with physical humor, great songs, and wall-to-wall dance, “The Boys From Syracuse” is grand fun. (***1/2) - Jonathan Lewis

(“The Boys From Syracuse” run August 14 through September 28, Drury Lane Theater, 100 Drury Lane, Oakbrook Terrace, 630-530-0111 or www.drurylaneoakbrook.com.)

“It’s our duty to bring freedom to everyone, everywhere!” This statement, from a character in Gore Vidal’s political comedy “Weekend,” regarding the Vietnam War, was written 40 years ago, but if you exchange Iraq with Vietnam this “hawks verses doves” conflict could have been written for this year’s presidential election. There lies the brilliance of Vidal’s writing. The astounding current relevance and urgency of this play, written in 1968, illustrates an acute mind that transcends time and needle sharp fangs that refuse to dull.

Republican Senator MacGruder is poised to toss his hat into the presidential race. After endless polling and analysis, his chances look great and his timing looks perfect. That is, until his son returns home from Europe with shocking wedding plans. Political posturing and damage control provide the framework for this inside look at the personal scandals behind a national election. Director Damon Kiely assembles a solid cast and exceptional design team to deliver a strong, attractive and entertaining production of this Chicago premiere. It is hard to imagine that it took four decades for this play to be rediscovered, but the timing of its surfacing is as clever as the script itself.

The focus of the busy drama becomes a bit muddied at times, and the chemistry between characters is often as unconvincing as a speech given by a floundering politician. Still, the witty material is delivered with enough competence and enthusiasm to relay the critical observations and leave you laughing hard. Janet Ulrich Brooks’s creation of Mrs. Andrews, an eccentrically bigoted senator’s wife, is well worth the price of admission. Her characterization is astoundingly funny, utilizing incredible non-verbal humor as well as delivering her irreverent dialogue with hysterical comic timing.

Except for the dated scandal of an interracial relationship, this script is not only relevant but also vital when entering these last few months of one of our country’s most critical presidential elections. Congratulations to TimeLine for unearthing this buried treasure at a time when true political analysis is sorely lacking and desperately needed. (***) - Venus Zarris

(“Weekend” runs through October 12, TimeLine Theatre, 615 W. Wellington, 773-281-8463.)

This Week’s Openings

“The People’s Temple” - 1978. Jonestown, Guyana. An interracial religious group, lead by their charismatic leader Jim Jones, move to the remote jungles of South America to build a utopian community. This premiere combines actual interviews with survivors and family members and live gospel music to tell the untold stories of a community that dreamed of a better life, and its shocking demise.

(Runs September 4 through 28, American Theater Company, 1909 W. Byron,773-409-4125 or www.atcweb.org

“No Darkness Round My Stone” - A world premiere English translation of French playwright Fabrice Melquiot’s play, this comedy is an allegory for life’s tragic failures and celebrated new beginnings as told by a comedic pair of grave robbing brothers.

(Runs September 4 through October 11, Trap Door Theatre, 1655 W. Cortland, 773-384-0494 or www.trapdoortheatre.com.)

“bobrauschenbergamerica” - This fitting tribute to the profoundly influential visual artist Robert Rauschenberg, who passed away this May, is presented as a collage of wild characters and stories, movement and music, lovers’ spats and chicken jokes. Much like Rauschenberg’s famous “combines”, which incorporated everything from paint and photographs to busted tires and taxidermied animals, this play mixes the mundane and the sublime in a daring exploration of the American experience.

(Runs September 5 through 28, Chicago Fusion Theatre at Gorilla Tango Theatre, 1919 N. Milwaukee, 773-425-6572 or www.chicagofusiontheatre.org.)

“Amadeus” - Peter Shaffer’s award-winning drama Amadeus, and brings us into the tumultuous lives of Wolfgang Amadeus Mozart and his obsessively jealous rival, Viennese court composer Antonio Salieri.

(Runs September 6 through November 9, Courtyard Theatre at Chicago Shakespeare, 800 E. Grand, 312-595-or www.chicagoshakes.com.)

“On the Money … Songs About Everyone’s Second Favorite Subject” - Carla Gordon works as a university professor of financial planning by day and as a cabaret singer by night. This musical show combines both of her chosen pursuits.

(Two nights only, September 7 and 14, Davenport’s Cabaret, 1383 N. Milwaukee, 773-278-1830 or www.davenportspianobar.com.)

“Church Basement Ladies” - Set in 1964-65, the show is a funny, heartfelt reflection on the four women who tirelessly prepare the food and solve problems for the congregation at a rural Minnesota church. The show, which features toe-tapping music and delicious humor, stars William Christopher of TV’s M*A*S*H.

(Runs September 10 through 27, North Shore Center for Performing Arts, 9501 Skokie Blvd., Skokie,847-673-6300 or www.northshorecenter.org.)

“Buddy: The Buddy Holly Story” - The concert musical, about the life of the legendary singer/songwriter, features over twenty classic toe-tapping tunes from Holly, the Big Bopper and Ritchie Valens including Peggy Sue, That’ll Be the Day, La Bamba and Chantilly Lace.

(Runs September 6 through November 2, Drury Lane Theatre Water Tower Place, 175 E. Chestnut, 312-642-000 or at www.ticketmaster.com.)