3.5 Stars - "Hilarious ‘Poor People!' takes inspiration from ‘Annie,' but leave the kids at home" - Emily McClanathan 5/14/24

"Is there anyone who enjoys laughing at the quirks of their favorite art form more than musical theater people? I doubt it. Sure, Apple TV+ dropped the musical comedy "Schmigadoon!" after two seasons, but a stage version is set to premiere at the Kennedy Center in 2025. And yes, "Forbidden Broadway: Merrily We Stole a Song" recently postponed its Broadway run, but iterations of the parody revue have played in over 200 cities since 1982. So it's safe to say that people who tear up at the melodies of Andrew Lloyd Webber can also laugh about the fact that the Phantom is kind of a creep. Musical theater fans contain multitudes.

Hell in a Handbag Productions taps into this rich comedic vein with its world premiere production of "Poor People! The Parody Musical" by Tyler Anthony Smith. Directed by Stephanie Shaw, with music direction by Andrew Milliken and choreography by Christopher Kelley, this bawdy romp is a hilarious send-up of popular musicals populated by orphaned New Yorkers, Cockney street vendors and Parisian sex workers.

Dakota Hughes stars as Li'l Orphan Arnie, a red-headed kid with a fondness for show tunes and a dream that their parents will return someday with the missing piece of the broken Liza Minnelli record they wear around their neck. When they escape the orphanage/meth lab run by the chain-smoking Miss A (Sydney Genco), Arnie discovers a portal that takes them from 1979 New York to 1815 Paris.

Arnie isn't the only one who has traveled through the portal. Nineteenth century Paris seems to be the hub that draws unfortunate souls from across time and space, with the through-line being that they all prefer to process their trauma through belting ballads. In the city's seedy underworld, Arnie and their feline companion, Fosse Kitty (Matty Bettencourt), meet kind-hearted prostitute Nance (Smith), flamboyant pimp Fagin (David Cerda), forlorn Epipen (Taylor Dalton), sickly Pantene (Caitlin Jackson), chipper young Twinky (Patrick O'Keefe), Pretty Rich Boy (Tommy Thurston) and a nameless beggar woman with a taste for squirrel meat (Elizabeth Lesinski).

And because one villain isn't enough, the time-bending storyline introduces the Groomer of the Flop'ra (Shane Roberie), Nance's longtime stalker; and Mama Moneybags (Brittney Brown), a GOP politician who travels back in time from 2024 to stamp out the plague of prostitution.

This motley company rattles off irreverent parodies of some two dozen songs from "Annie," "Cats," "Les Misérables," "Mary Poppins," "My Fair Lady," "Oliver!" and more. Smith's writing is highly self-aware, with meta comments on musical theater tropes and inside jokes about dramaturgy, the Jeff Awards and Actors' Equity. It would be misleading to say that the book and lyrics are full of sexual innuendoes because more often than not, they say the quiet part out loud. There's also profanity, shots at antivaxxers and an, um, explicit interpretation of Jesus Christ's final hours. So, maybe leave the kids at home.

One of the strengths of this production is the way it leans into the limitations of storefront theater and makes it all part of the joke. Characters poke fun at the low-budget set (designed by G. "Max" Maxin IV), and the turntable and projections intentionally malfunction. Rachel M. Sypniewski's costumes and Maggie O'Brien's props add to the zany humor. I won't soon forget the chorus of crazed squirrel corpses that accompanies the beggar woman's rendition of "Feed the Birds."

The homespun feel also comes through in the music. Smith's lyrics often don't map smoothly onto the existing tunes, but this seems to be a running gag. The plodding lyrics from the opening number of "Les Mis" ("Look down") transform into a clunky refrain of "or-phans" when we meet Arnie and crew in Miss A's orphanage. Also, several actors' vocal ranges don't really fit their characters' songs, but this becomes the perfect setup for Arnie - too quiet in the "Annie" parodies - to later bring down the house with Christine Daaé's famous high notes.

The first act gets a bit long, with several false endings, but it's worth the wait to see the company wave tiny French flags during a parody of "One Day More" before the chandelier falls to signal the start of intermission. The plot gets even wilder in Act 2, but as Arnie says with a shrug, "What's some more trauma?"

Musical theater devotees with a slightly sick sense of humor will find "Poor People!" a riot. But don't bring your friend who thinks "The Phantom of the Opera" is actually an opera. They'll probably be more lost than Li'l Orphan Arnie in the red light district of Paris".

Highly Recommended - " 'Poor People' the parody musical is rich in laughs" - Kimberly Katz, Buzz Center Stage 5/12/24

"I'm amazed that it's been 18 years or so since I first saw a Hell in a Handbag production. Though it seems like yesterday, my first experience with Handbag was taking in their production of The Poseidon Adventure at the cozy and artistic Chopin Theatre in Wicker Park. It was fantastic and it was funny - fantastically funny. The musical's parody humor, clever innuendos and dry wit reeled me in immediately. I was instantly blown away by Founding Artistic Director and performer David Cerda and the company's cast of very talented comedic singers and dancers - and I still am. Hell in a Handbag is a dependable theater company that consistently provides hilarious, high-quality productions of camp entertainment (i.e. Golden Girls: The Lost Episodes, Christmas Dearest, Caged Dames) to the appreciative Chicago community and, like so many others, I find myself always looking forward to their next production.

Handbag's current production is yet another gem. Also performed at Chopin Theatre, Poor People! The Parody Musical, was brilliantly written by Tyler Anthony Smith and is wonderfully directed by Stephanie Shaw. Poor People! is a dynamite brand-new production that creator Tyler Anthony Smith describes as being a tribute to the characters in shows like Annie and Les Miserables, "that despite dire circumstances, the characters were still belting their faces off and dancing in the streets. Anybody can be happy and sing but it takes something special to be on your deathbed and still be on key."

In the gritty, smoke-filled streets of 1979 New York City, the story's fiery-haired protagonist, Li'l Orphan Arnie (played by Dakota Hughes), is on the run. Escaping the clutches of a lascivious, meth-cooking, authoritarian head of the orphanage, Miss A (Sydney Genco), Arnie's fate takes an unexpected turn when they encounter a mysterious feline dancer named Whiskers (Matty Bettencourt). Whiskers leads Arnie through a supernatural manhole, hurtling them back in time to 1815 Paris, France.

In this new period of time, Arnie trades one impoverished existence for another. The search for their birth parents takes a backseat as they join forces with a ragtag gang of pickpocketing prostitutes, masterminded by the enigmatic Fagin (David Cerda).

Life takes a darker turn when Mama Moneybags (Brittney Brown), a corrupt Republican hailing from the future, sets her sights on dismantling Fagin's crew. But fear not! A motley crew of vibrant, down-and-out characters steps up to the challenge. Among them are the consumptive Pantene (portrayed by Caitlin Jackson), the wild and feral Beggar Woman (Elizabeth Lesinski), and Nance, the quintessential hooker with an unexpectedly golden heart (brought to life by Tyler Anthony Smith).

Besides Annie and Les Miserables, the story also parodies a bevy of characters and songs from other favorite Broadway productions including The Phantom of the Opera ("The Groomer of the Flop'ra"), Oliver, and even a lampooned version of Mary Poppins' "Feed the Birds (Tuppence A Bag)".

So, let's get to the talented cast members...

Dakota Hughes plays Li'l Orphan Arnie with a childlike charm and sass. Not just gifted with comedic talent, Hughes has a tremendous vocal range and gets to show it off throughout the play. Caitlyn Jackson, who plays Pantene and Sydney Genco as Miss A have been longtime favorites of mine in the Hell and a Handbag Productions troupe throughout the years and were both very funny and also had great song and dance numbers, which I have come to expect and enjoy! Along with Genco and Jackson, Brittany Brown also gets to impress the audience with her sensational singing voice. Another favorite Handbag veteran of mine is Elizabeth Lesinski and she absolutely crushes in her role as the Beggar Woman, drawing laughs with just about each delivered line. She also shows us that she can manage a herd or ravenous squirrels while holding a tune.

Warm, commanding, and consistently hilarious, David Cerda shines in his role as Fagin. Cerda's presence exudes both comedy and a nurturing energy that envelops the entire cast. Audiences eagerly anticipate his every entrance. Meanwhile, Tyler Anthony Smith remains a beloved fixture from previous Handbag productions - and absolutely steals the show! Smith brilliantly adapted many numbers from well-known Broadway shows into rousing, funny, bawdy and touching ensemble performances that keep the entire audience laughing and cheering right up until the end of this wonderful full-length production.

To complete the ensemble, Matty Bettencourt sizzles as Fosse Kitty, and special recognition is also due for the outstanding performances of Taylor Dalton as Epipen, Shane Roberie as The Groomer, Patrick O'Keefe as Twinky, and Tommy Thurston as Pretty Rich Boy. There is so much to love about this gifted ensemble. Truly, every cast member delivers an exceptional and delightful experience for the audience.

Poor People! is a fun show filled with one hilarious moment after the next that does not mind pushing the envelope as far as it can. Yet, no matter how ribald or risque the show may be, a Hell in a Handbag production always includes a heartwarming message to the audience of support and acceptance to all people, regardless of their gender, race or age - and this show is no exception. Tyler Anthony Smith delivers the timeless message of wisdom in the uproariously funny and endearingly adapted finale, "We're All Gonna Die Soon!" Embrace the present moment! We're all here now, but who knows what tomorrow holds. So, let's have fun and enjoy life!

Poor People! The Parody Musical with musical direction by Andrew Milliken and choreography by Christopher Kelley is being performed at The Chopin Studio Theatre (1543 W. Division St.) through June 16th. For tickets and/or more show information visit https://www.handbagproductions.org/. "

"Poor People ! The Parody Musical" Reviewed by Julia W. Rath, AroundTheTownChicago.com 5/12/24

"Poor People" is a cleverly-inspired parody by Hell in a Handbag Productions that consists of a mashup of stories, songs, and characters taken from major Broadway musicals from the second half of the 20th century. The basic thrust is that while the destitute are often scapegoated and treated badly, here the characters have their revenge! Although this world premiere production features people who live in poverty, there are nevertheless several add-ons to the story taken from other Broadway hits, that is, whenever a character must fill a major role or a catchy song is desired. I really loved the idea behind this show, and it was a fun romp down memory lane, as I experienced the various changes, elaborations, and modifications to familiar scripts. The layering of one storyline over another makes the contrasts between the narratives and the characters stand out, thus revealing the humor inherent in bizarre and often unrealistic situations. I especially enjoyed hearing the transformed lyrics while trying to refresh my memory about the original songs and the musical productions that they came from.

The year is 1979. The show begins with a young character named Arnie (Dakota Hughes), who is a spoof on Li'l Orphan Annie from the famous musical. Totally miserable , Arnie seeks to escape from their guardian, the notorious Miss A. or Miss Afghanistan (Sydney Genco), who runs the New York City Orphanage. Just like Alice descending a rabbit hole into Wonderland, Arnie follows a cat named Fosse Kitty (Matty Bettencourt) and travels down a Manhattan manhole-only to go back in time to face poverty in a different era. Once Arnie ascends from the Paris sewers, Arnie learns it is the year 1815, and now has to become a part of the cast from "Les Miserables." The amalgamation of "Phantom of the Opera", "Cats", "Chicago", "My Fair Lady", "Oliver!", "Sweeney Todd", and so on and so forth is uniquely and hysterically funny. Then too, so is the use of the "F-word", the numerous and sundry sexual references, and the coarseness of language throughout. The names of characters are altered with finesse too! The show is additionally a spoof about what it means to be a theatregoer. It constantly breaks down the 4th wall, especially in its message at the end of the first act about what the audience is about to see next and what the intermission is all about.

Other characters include Fagin (pronounced Fag-in), played by artistic director David Cerda; Pantene (Caitlin Jackson); Beggar Woman who is also a witch (Elizabeth Lesinski); the good-natured prostitute Nance (Tyler Anthony Smith); Mama Moneybags, the unabashed Republican from the year 2024 (Brittney Brown); Epipen (Taylor Dalton); Twinky, (Patrick O'Keefe who does a great British accent); The Groomer of the Flop'ra, i.e., Erik from Phantom of the Opera, (Shane Roberie); and Pretty Rich Boy (Tommy Thurston).

As much as I enjoyed the concept and most of the comedy bits, I felt that the script could be improved upon. To my mind, playwright Tyler Anthony Smith didn't know exactly how or where to end this brilliantly conceived story, and herein hangs a tale. I preferred the light and ridiculous humor that makes up much of the first act, as compared to the dark and off-the-wall humor that makes up much of the second. Plus the references to "Jesus Christ Superstar" are too blasphemous for my taste. For me, this portion has nothing to do with the musical, and I don't find it funny. I'm not a fan of ridiculing other people's religious beliefs; however, I'm sure a number of people in the audience will find this segment to be perfectly acceptable. Also, while having three villains from three different musicals come together is a clever touch, the result of their interaction doesn't make the play as much fun anymore, especially when the use of a toy helicopter from "Miss Saigon" is much too childish. Furthermore, the stuff about the Epipen gets to be insipid, and there are also a few too many uses of squirrel rats as a parody of the pigeons taken from "Mary Poppins."

Yet the biggest fault with this production is that the stage is too small for such a large and active cast, especially when they are all singing and dancing and playing with props. While the direction by Stephanie Shaw is marvelous and the audience could see everything on stage from their seats in a U-shaped formation, the first row on all three sides is much too close to the action. My guest and I happened to be seated in the first row, and the person two seats to my right was unintentionally touched more than once by an actor who was grabbing at one of the upright theatre supports. (You should have seen the expression on the patron's face when this happened!) I too was touched on my leg by a rogue squirrel-rat and took it with a laugh.

Music direction by Andrew Milliken could not have been any better; his keyboard performance cannot be excelled! Choreography by Christopher Kelley is just perfect, although, as mentioned a moment ago, to get the full effect of the dance numbers, there ought to be a much bigger stage. Kudos to G. "Max" Maxin IV, who did all of the scenic, lighting, and projection design. Sound design by Miranda Coble is great, as is props design by Maggie O'Brien. Thanks to the gorgeous work by Rachel M. Sypniewski, the costumes are ideal in keeping with the eras of each of the original Broadway shows. Plus wig design by Keith Ryan and make-up design by Syd Genco add to the total effect. Finally, the creation of a pet cat by Jabberwocky Marionettes is skillfully done.

Though I loved reminiscing about songs which I was already familiar with and seeing the creativity involved in how the scripts and the song lyrics were modified, the performance is a bit too long and drawn out as a whole; and it starts to get too repetitive as time goes on. It does not need to be a full 2 hours plus a 15-minute intermission in order to make all its points. Then again, there really aren't any points to make. That is because "Poor People" is not supposed to be a deep analysis of the human condition; rather, it's a form of easygoing amusement.

In fact, this ribald comedy is reminiscent of the burlesque shows of the 19th and early 20th centuries. Burlesque in that era was meant to be ridiculous: Through the use of absurdity, it was imitative of the styles of known artists, authors, and playwrights. There was a presupposition that the material which the show is based on is something that the audience already knows about. This way, the spoof would have its intended effect of poking fun at all the right targets: usually having to do with famous people, established characters or stereotypes, or previously well-known situations. Now bringing this idea home into the present-day, the more that we can recall the various references from Broadway musicals, the funnier today's performance is. The bottom line is that if you want to have a good laugh, then this is a great show to see!"

From Hell in a Handbag

It's 1979 in dangerous, smoky, glorious New York City. Our story's red-headed protagonist Li'l Orphan Arnie (Dakota Hughes) is fleeing from the guardianship of a sex-starved, meth-cooking madwoman (Sydney Genco*). Out on the streets, they befriend a slinky dancing cat (Matty Bettencourt), who leads them to a magical manhole, transporting them back in time to Paris, France in 1815. Trading in one poverty-plagued lifestyle for another, Arnie gives up the desire to find their parents and joins forces with a gang of pick-pocketing prostitutes, led by the mysterious Fagin (David Cerda*).

Life becomes even more dire when Mama Moneybags (Brittney Brown), a corrupt Republican from the future, takes it upon herself to put Fagin's troupe out of work. Thankfully, there's a bounty of colorful, destitute characters to help save the day, such as the tuberculosis-ridden Pantene (Caitlin Jackson*), a feral Beggar Woman (Elizabeth Lesinski*) and Nance, the classic hooker with a heart of gold (Tyler Anthony Smith*). Will the sun come out tomorrow? Do you hear the people sing? Will we be changing all of the lyrics to avoid being sued? Yes!

* Denotes Ensemble Member