“Too Hot To Handel” Preaches It
By Sydney Milligan with Wes Hessel
“Too Hot To Handel” was in rare form at the landmark Auditorium Theatre. The show, which offers a most skillful and soulful jazz-gospel take on Handel’s “Messiah” oratorio, features a music ensemble comprised of guest artists from the Chicago Symphony Orchestra – including 5 saxophonists, 3 french horn players, 3 trumpet players, 3 trombone players, 2 percussionists, 11 violinists, 4 viola players, 4 cellists, and 2 bass players. The production’s musicians also include members of The Chicago Collective Rhythm Section. This concert boasts a diverse city-wide choir, consisting of 32 sopranos, 23 altos, 12 tenors, and 10 bass vocalists. Leading the production’s vocal ensemble are returning and fan-favorite soloists tenor Rodrick “Rod” Dixon (of “Three Mo’ Tenors” fame), his spouse soprano Alfreda Burke, and Chicagoland’s own alto Karen Marie Richardson.
Matt Miller’s lighting plot was simple but effective. Almost the entire show, from beginning to end, is illuminated in warm sunset-inspired hues of reds, bright oranges, yellows, pinks and purples. Notably, tones of soft pastel purples are used during the “He Shall Feed His Flock” segment soprano Burke leads. There are fiery crimson tones utilized during the “Why Do The Nations So Furiously Rage” sequence to coincide with the passion and rigor of the number. Very rarely are green and blue gel lights used to invoke a sense of calm, such as the shades of azure employed during the “O Thou That Tellest Good Tidings To Zion”. During the finale of Handel’s famed “Hallelujah” chorus, colors of every pigment of the rainbow ricochet across the stage and the screen in the background. There are a few moments where a singular white spotlight provides intimacy, tranquility and gravitas, such as when pianist Alvin Waddles performs his incredible solo set, displaying his mastery of the ivories, and when Soprano Burke belts, “Behold, I Tell You A Mystery”.
In regards to costuming, all of the musicians performing in the show don a uniform of head-to-toe black. All of the women in the choral ensemble dress in all black as well (generally opting for uncomplicated dresses or skirts), and the male chorus wears black suits with white collared shirts and red bow ties (some men even chose to incorporate red pocket squares as well). Ms. Burke wore a long, flowing saffron-colored gown with large bell sleeves. Mr. Dixon sported a dark charcoal suit he paired with a golden, saffron-toned bow tie and pocket square in order to compliment his wife. Ms. Richardson opted for a floor-length sparkly white sequin ball gown with an illusion sweetheart neckline and a half-down/half-low ponytail hairstyle for Act I. For Act II the alto soloist changed into more fitted mermaid-style white sequin formal dress and swept her tresses up into an elegant fishtail braid.
There were a number of moments in which the audience leapt to their feet and provided raucous standing ovations, including when tenor Dixon first took the stage, at the end of the “Surely He Hath Borne Our Grief”, and “Why Do The Nations So Furiously Rage” segments, as well as at the conclusion of Alvin Waddles’ spectacular piano solo. Keeping with tradition, everyone was on their feet, dancing, singing, and clapping along during the “Hallelujah” chorus, then provided thunderous applause at the end of the dazzling finale.
Overall, “Too Hot To Handel” is in as good a shape as ever and just as impressive as when it first premiered in 1993. It was a treat for those just being exposed to the show for the first time and seasoned “Hotties” alike, delivering on its exceptional blend of blazing one-of-a-kind talent and innovation. “Too Hot To Handel” shall surely continue to heat up the dead of Chicago’s winter and thrill Windy City audiences for the next 32 years to come, and then some. For tickets or information on future great concerts and other events at the legendary Auditorium Theatre, please go to www.auditoriumtheatre.org.
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