Jeremy Rill, as Cole Porter, was a great casting, able to portray all facets of Cole Porter’s complicated personality and story.
Jeremy Rill boasted a solid tenor for Booth and, like Daniel Allar as Byck gave a restrained performance in a potentially scenery-chewing role.
I see a lot of really good theatre. But every once and awhile, a moment is played out on stage that goes beyond what you expect and lifts you out of yourself. One such moment occurred for me during the second act of this evening. Lily and Archibald share a duet – “How Could I Ever Know” – which laments their short time together. They start on opposite sides of the stage and Lily slowly makes her way to Archie until she is standing behind him. Archie knows she is there in spirit but when she slowly puts her arms around him from behind and holds him in her love, he truly feels her. The look on his face reflecting his wonder, grief, and joy all combined was one of the most amazing things I’ve experienced in a theatre. Jeremy Rill, you broke my heart!!
Rill’s rich voice amplifies Archibald’s emotions, exposing the character’s inner turmoil on a tangible level
Jeremy Rill’s Cinderella’s Prince/Wolf is smarm personified with an opera divo’s timbre
Better still, Circle’s “Can-Can” includes Jeremy Rill, a polished performer with a grand voice. Problem is, it’s nearly an hour before he sings his first solo and then it takes only a couple of notes of the lovely “I Am in Love” before he has them eating out of his hand. He delivers a couple more tasty moments in the second act with the classic “It’s All Right with Me” and a charming reprise of “C’est Magnifique”
At a Circle musical, you expect to see a game and hard-working ensemble. But you don’t expect to see two leads as you see here. One was no surprise — the handsome Jeremy Rill started to make his Chicago name when he blew everyone off the stage as the devil in the Bailiwick Theatre’s “ Jerry Springer: The Opera.” He’s got a fine voice and an easy, warm, gently ironic style. And he’s just as good in this show, this time in a romantic lead.
Jeremy Rill, who’s won strong notices in larger and darker roles around town, gets to show off some comic skills as the effete Maximillian.
Opposite Jennie is Jeremy Rill, who also appeared with her in Gary Griffin’s recent Chicago Shakespeare production of “Passion.” Rill’s Prince Charming is exactly what his character name implies. Tall and good looking and with a smooth and easy voice that is a pleasure to hear. Solo or in a duet with his leading lady, he is the best WW prince in many a season.
Jeremy Rill takes your breath away in an extraordinary portrait of Frollo, the priest who loses himself over his fatal desire for Esmeralda, who is enticingly played by Dana Tretta.
Jeremy Rill, who was a sensational Devil in Bailiwick’s Jerry Springer last year, blows the audience away with the powerful internal monologues he sings as Father Frollo and expertly blends both pop and musical theater styling to appropriately serve the material . He manages to push the character’s villainy just far enough without going over the edge and helps us understand the priest’s torment and lust.
It oughta be called “The Pastor of Notre Dame” as Jeremy Rill as Father Frollo steals the show in rocker Dennis DeYoung’s pop-opera adaptation of that other Victor Hugo classic.
...the singing is good enough to carry off the premise quite deliciously. And in a couple of cases, such as the fabulous Jeremy Rill as Jerry’s Warm-Up Man (and Satan) and Jennifer T. Grubb’s sweet-voiced Baby Jane, the performances are as good as I’ve ever seen at this theater.
But it’s Jeremy Rill’s suave and wicked work as both the studio warm-up man and Satan that sets the standard.