When I was 13, my family went to the old Drury Lane Theatre in Water Tower Place. You might remember the space better from its transformation to several small movie theaters (although much of the trademark chandelier, grand staircase, and bordello red lobby remained intact). After closing several years back, the future of the space remained uncertain. But, in a happy act of coming full circle, the space has recently been reinaugurated as the new Drury Lane Water Tower Theatre.

The show I originally saw with my folks was Mass Appeal, a dramedy that had recently been an off-Broadway success, about two priests, one of whom was gay. Theatre, gay characters, gaudy chandelier - I was the happiest queer teen, and planned to return.

I did return, but not until the newly reborn theatre offered another show perfect for all us queer-teens-at-heart, The Full Monty. Not only is the show a musical where men strip, but prize winning gay scibe terrence Mc Nally wrote the book, there is a gay character, and, most importantly, a big gaudy chandelier in the lobby. Or three.

It's good to come home again.

The theatre, completely privately financed at over four million dollars by Drury Lane impresario Tony DeSantis, hopes to lure tourists and locals to the kinds of productions that, until recently, were relegated to the Marriott Lincolnshire and Drury Lane Oakbrook.

The first season offers a mix of something for everyone, with nothing too challenging, all at prices lower than anything else in the immediate area. Top single ticket prices top out around $50.00, and every seat has a great view of the stage, as well as offering up plenty of leg room. After The Full Monty, a funny and satisfying production of David Yazbek's musical, the theatre stages the old standby Mornings at Seven, The musicalization of Grand Hotel (which can only benefit from the more intimate staging), and a Forever Plaid Christmas show.

While some may turn their noses up at the commercialism and lack of cutting edge, I predict there is a big market for the kind of reasonably priced shows the Drury Lane offers, with respectable mostly local casts (many of whom happily appear in show after show at their other location), and decent budgets.

Those familiar with other Drury Lane theatres will immediately recognize that chandeliers in the lobby, as well as certain over-the-top touch in the decorating department, but that's part of the fun. Really, relative to past Drury Lane decorating schemes, the new theatre is mildly sedate.
The main color is (of course) red, and the round lobby is spacious and easy to navigate even when packed.

Inside the actual theatre, audience members will be happy to find failry roomy seats, with aisle space so you can squeeze through when others won't get up to let you through. It's refreshing to sit in a comfy, old fashioned theatre, after so many recent utilitarian complexes have been built. The majority of the seats are set on a nice grade, so you don't have to worry if there's big hair in front of you (and there will be).

The stage offers plenty of room for large scale productions, and comes with a rotating stage panel, a clear sound system, and terrific lighting. Will all those lights really be needed for the 1939 set Mornings at Seven, the next production? Probably not, but the currently playing, well-reviewed The Full Monty does, and it's definitely worth checking out.

The rest of the season is perhaps less adventurous than the inaugural show about male strippers, but still avoids the Brigadoons and Hello Dollys that could turn off some city thatergoers. Let's hope that, in the future, the Drury Lane continues to stretch the definition of what it offers. I'm not looking for Mary Zimmerman, but more like The Full Monty would be fine.