BCS Spotlight

Displaying items by tag: Goodman Theatre

“The Penelopiad” is a zesty romp and very entertaining. With a script by a writer I adore, Margaret Atwood of “The Handmaid's Tale” fame, and based on her novella by the same name, it tells the story of Odysseus’ wife Penelope (played stunningly by Jennifer Morrison)—and how she occupied herself during the long odyssey recounted in Homer’s Greek epic poem, “The Odyssey.” I had recently finished reading a new translation so that story was fresh on my mind.

Of course, this being Atwood, it is a reset of the tale, told from the woman’s point of view. And it is very scholarly, perhaps a bit cerebral in the first half, relating in more detail than Homer’s work the origins of Penelope, and how she ended up married to Odysseus, the King of Ithaca. We also see what life was like in the palace from Penelope’s perspective, and that of her dozen maids.

Odyseus went off to fight in the Trojan War. He was gone such a long time, 20 years, that princes of his realm presumed him dead, and vied to marry his supposed widow Penelope, and claim the throne. As the years wore on, they didn’t behave nicely—living on the palace’s largess and hitting on the maids relentlessly. It was an unapologetic patriarchy, to be sure.

In Homer’s version, Penelope is celebrated for being steadfast and true. And Atwood gives us this too, but without the male gaze. Penelope constantly thwarts and outwits the obnoxious suitors, and her corps of maids switches genders and roles to show what that was like. With an all female cast, and set with frequent music and dance, “The Penelopiad” relates many of the high points of the original poem. The first act, then, is a recitation of the Odyssey revisited.

Without question, “The Penelopiad” under the direction of new artistic director Susan V. Booth gives the best ever and very understated caricature of male behavior by women actors: the boasting stance, the lack of self-awareness, the entitlement, and the varieties of ways this is displayed by classically awful male personality types. It’s a bracing and edifying experience for a man to see.

This corps of maids also plays identifiable characters (though not credited in the program): the growing Telemachus, evolving from whiny teenager critiquing his mother Penelope’s behavior, to self-empowered accomplice when his father does finally return; the oldest maid, who carps at Penelope and the sisterhood she forms with the young maids. She soon recognizes the disguised Odysseus by his scars when he returns, and selects at his request the maids who will be punished for fraternizing with the suitors.

We also see a maid as Odysseus himself, a pompous braggart at times, who certainly did not make rushing home to Penelope his priority. These transformations in gender are aided by artful breastplate costumes (costume designer Kara Harmon).

Atwood describes “The Penelopiad” as most akin to a cabaret along the lines of Kurt Weill. The music and scintillating choral singing is composed by Samuel Davis and directed by Jeremy Ramey.
While in the first half we get mostly a poetic oration in a series of scenes—Penelope being cast heartlessly into the ocean by her father, surviving and gaining stature as a demigoddess; Penelope’s first encounter with the immature Odysseus—the second half gives rise to real drama. As the years wear on, Penelope develops one final ruse to avoid the suitors: she will weave a shroud for her father-in-law, and when it is done, will select one of the group to marry. Famously she unweaves the shroud each night, and eventually the suitors catch her. 

Luckily, Odysseus is back, and the Odyssey plot grinds quickly to its well-known conclusion. Odysseus slays the suitors, and then horrifically hangs the maids as well. Penelope examines herself in Atwood’s retelling of the epic, and how she has survived only because she sacrificed the maids to the suitor’s unwanted advances. She was powerless to keep Odysseus from hanging the maids, though to her credit, Odysseus kept his intent from her. It’s a truthful and sad conclusion, set in a wholly entertaining frame of music and dance. Kudos to the dramaturg Neena Arndt for her role in bringing us this lesser known work.

”The Penelopiad” runs at Chicago’s Goodman Theatre through March 31

Published in Theatre in Review
Tuesday, 20 February 2024 10:33

Review: 'The Magic Flute' at Goodman Theatre

Mozart’s masterpiece, and one of the world’s most frequently performed operas, The Magic Flute, is given a modern-day makeover in award-winning director and writer Mary Zimmerman’s production of The Matchbox Magic Flute, now playing at The Goodman Theatre on its Owen stage.

In this world-premiere production, Zimmerman has adapted the traditionally lavish and grandiose opera with full company and orchestra and has created what has been dubbed an opera-in-miniature with a cast of ten and an orchestra of five. The results are nothing less than triumphant.

From the orchestra members dressed in costume with candles flanking their music stands to the delightful Spirit (wonderfully performed by Reese Parish) who guides us through the performance, to the Zimmerman-trademarked scenery which effortlessly flows from forest to palace and back again, every detail contributes to the overall ambiance of the production to create an intimate theatre experience. The audience feels as if they are part of the performance as the actors frequently turn to us and bring us into the action and let us in on the jokes.

The production follows the traditional story line of Prince Tamino (Billy Rude) who finds himself lost in the forest pursued by a dragon. He is rescued by three woodland ladies, who show him the portrait of Princess Pamina (Marlene Fernandez), the daughter of the Queen of the Night (Emily Rohm), who has been abducted by Sarastro (Keanon Kyles) and his sidekick, Monostatos (Russell Mernagh).

The Prince falls in love with the Princess instantly, and when the Queen of the Night commissions him to rescue her daughter, promising him her daughter’s hand in marriage, the Prince is only too happy to oblige. Aided by a magic flute and accompanied by the lovelorn half-bird, half-man, Papageno (brilliantly played by Shawn Pfautsch), the Prince commences his magical mission.

In adapting this classic opera, Zimmerman has gone line by line, not only condensing the plotline to fit a two-hour running time, but also updating the libretto to include unexpected and humorous references to modern life. For instance, when the three woodland ladies (Lauren Molina, Monica West, and Tina Munoz Pandya) discover the unconscious Prince, they coo over his physique as one who has obviously gone to the gym.

Later when Papageno and the Princess meet and sing about “the bird and the girl,” they encourage one another to persevere and not be discouraged “as when you are waiting in the grocery line.” These references are so cleverly embedded throughout the performance that you find yourself waiting and listening for them.

Even though only one of the ten cast members is a trained opera singer (Kyles who plays Sarastro), all have the musical theatre credentials to do justice to Mozart’s soaring operatic scores. Rohm as Queen of the Night gives an outstanding performance of one of the opera’s most well-known arias, Der Hölle Rache, with its fast repetition of High C’s, that challenges most sopranos. And the superbly comedic duet of Pfautsh’s Papageno and his newfound love, Papagena (also played by Lauren Molina), Pa pa pa, is a show-stopper. Also, not to be missed is Kyles’ impressive baritone, whose lower range wows the audience.

Rude as Prince Tamino and Fernandez as Princess Pamina shine in their respective roles, both vocally and in their character portrayal. Fernandez has a particularly beautiful soprano that is magnificent to hear. The three woodland ladies (Molina, West, and Pandya) are outstanding in their roles, adding humorous commentary on the action to both those on stage and to the audience. Mernagh’s Monostatos, as the one real villain in the story, is played with just the right comedic touch in his clumsy attempts to seduce the Princess.

What ensues is a thoroughly engaging and entertaining production that is fast-paced and lively. Toss in a few woodland creatures, whose dancing border on the hilarious as they throw in a little soft shoe, and you have a family-friendly show perfect for all ages. Even some of the musicians get involved and join the action on stage, as when flautist Dalia Chin, leads the Prince and Princess through their final trials with her “magic flute.”

Zimmerman herself sums up the production as a fantastical, adventuresome journey with something for everyone – dancing animals, magical instruments, lessons learned, along with a bit of humor, all set to Mozart’s time-honored classic score. What’s not to like?

Don’t miss your chance to introduce the younger generations – or even yourself -- to opera in a most winsome and captivating way. The Matchbox Magic Flute is playing through March 24 at the Goodman Theatre.

Published in Theatre in Review

I thoroughly enjoyed this modern and timely play on both the issues of Hollywood stars whose lives are constantly scrutinized by complete strangers and how easily it is for any person now to be fed false information online in ways that can affect their lives either positively or negatively regardless of the intentions of the sender. Highway Patrol is being performed at Goodman Theatre’s Albert Stage and is funny, haunting, and engaging through and through. 

Dana Delaney, who plays herself, is best known for her roles in the TV series China Beach and the hit film Tombstone, and she looks and sounds fantastic. I have always liked her plucky, no-nonsense energy as an actress, and in this true-life story of her work life and internet/social media interactions the audience gets a very accurate glimpse of how lonely a life in the arts can be and also how badly many actors are treated by the industry at the expense of their physical and mental health.

I don't want to give away any spoilers because half the fun of this show is the whodunnit twists and turns her life took back in 2012 that continued for several years, sometimes dominating her private life at all hours... 24/7. The story begins when the actress decides to interact directly with one fan on social media, Cam. Thomas Murphy Molony is a very talented young actor who makes you feel deeply for Cam, a young Twitter fan who is suffering from a chronic and terminal illness, a recipient of two heart transplants who is innocently and adoringly in love with Delaney. While Cam enjoys his conversations with Delaney, his grandmother often provides updates regarding the boy’s health and upcoming procedures to keep her in the loop. Dot-Marie Jones, who takes on the role of Cam’s caretaker, Nan, is a very gifted character actress best known for her work on Glee and Desperate Housewives. Jones really displays her versatile acting range playing such a multifaceted character and does so beautifully with depth and complexity. 

Peter Gallagher’s highly recognizable voice is also strategically used in this production as he plays the true-life friend and confidant of Delaney’s that he has been throughout most of her career. The recognizability of his voice in this show gives real weight to the fact that a human voice is like a fingerprint and gives much more honest information and clarity as to whom we are communicating over the voices we imagine in our minds when reading our own DM's or emails.

Director Mike Donahue does a great job staging the show into two compelling acts and theatre goers should arrive early to see Dana Delaney in character on stage prior to the start of the play. Having Delaney onstage beforehand is a very interesting choice and sets the tone of the play, acknowledging that most people, fans or not, are fascinated by seeing stars in person that they have "known" for decades.

I enjoyed Dane Laffrey’s set design and Yee Eun Nam’s projection designs so much! The colorful and quick changing sets along with large high-definition projections not only help the audience follow along with the digital clues based on the digital archives of actor Dana Delaney (with text curation from playwright Jen Silverman), but they also combine to form beautiful and realistic backdrops depicting the glamorous luxury, palm trees, sunshine, and sometimes loneliness of Delaney’s Los Angeles home and also her work life on set. 

The most fascinating thing I took away from this very enjoyable piece of theatre was not about the necessity of verifying and protecting oneself from the many digital communications we all send and receive every day. What struck me rather was the idea presented to the audience that sometimes we as isolated humans living in this new frontier of instantaneous digital communication, including celebrities who appear to "have it all", can possibly grow to miss fictional love messages and reassurances of digital communication even after discovering their true source. 

Dana Delaney is absolutely outstanding in this production, as is the entire cast. I highly recommend this funny, touching, yet haunting, modern play. 

Highway Patrol is being performed at Goodman Theatre though February 18th. For tickets and/or more information visit www.goodmantheatre.org.

Published in Theatre in Review

“Put someone inside of a box and cut them in half, people think it’s magic. They think it’s a special box. But, tear up a dollar and restore it right under their nose, or look into their mind and read their thoughts, or make something magical happen in their very own hands…. That is an experience they will never forget. – Ed Watkins

The Magic Parlour presented by Goodman Theatre & Petterino’s Restaurant is an absolute tour de force of mind-bending entertainment that left the audience in awe and wonderment. From start to finish, the performance was a seamless blend of astonishing sleight of hand, uncanny mentalism and captivating showmanship.

The showman of this production is Dennis Watkins, a third-generation magician, actor and entertainer. His critically- acclaimed show The Magic Parlour is currently running in the opulent lower-level of the iconic Petterino’s Restaurant on the corner of Dearborn and Randolph.

Dennis Watkins mastery of card manipulation was nothing short of extraordinary. With lightning-fast dexterity and precision, he effortlessly controlled the deck, making cards appear and disappear in ways defying logic. Every move was executed flawlessly, leaving even the most skeptical (me) observers scratching their heads in amazement.

What truly set this performance apart, however, was the incorporation of mentalism. Watkins demonstrated an uncanny ability to read minds, predict choices and even influence the thoughts of volunteers from the audience. The mind-boggling feats left the crowd gasping in disbelief. As a volunteer, I tried my best to stump Magician/Mentalist Dennis Watkins to no avail. He guessed with precision, I might add, and it blew my mind.

The production values were also noteworthy. The lighting and sound design were expertly calibrated to enhance the overall experience, ensuring every subtle move and gesture was visible in this intimate venue.

The cocktail menu is a delightful highlight, showcasing specially curated drinks tailored for the occasion. Additionally, a complimentary drink (which includes options like beer, wine cocktails or soft drinks) is included in the price of the ticket, adding an extra touch of hospitality to the experience.

With a VIP admission, after the show you will be escorted to a private space where you will sit with Chicago’s top magician, Dennis Watkins, for another half hour of magic and a question-and-answer session. He doesn’t give out his secrets, but the up-close magic will have you asking lots of questions.

Whether you’re a die-hard magic fan or a casual observer, this show is guaranteed to leave you spellbound and eager for more. Don’t miss the opportunity to witness this exceptional magician in action – it’s an experience you won’t soon forget.

Where: 50 W. Randolph Chicago, Illinois 60601
Info: www.themagicparlourchicago.com
Tickets $85.00 - VIP - $115.00

Published in Theatre in Review

GRACE -- “Let me try to explain something to you. The Nacirema Society is not a social service group nor a political organization. Our challenge and our joy is to celebrate the best of us, not by giving scholarships and financial assistance, but by recognizing the fact that there are some of us who don’t need it [a beat}. Who has never needed it." - From the script, "The Nacerima Society..."

Commissioned by The Alabama Shakespeare Festival in 2009, “The Nacirema Society Requests the Honor of Your Presence at a Celebration of their First One Hundred Years” comes to The Goodman Theatre thanks to the association its Artistic Director, Susan V. Booth, has with playwright Pearl Cleage. Chicago theatergoers cannot be happier. “The Nacirema Society Requests….” is a laugh out loud spectacle.

As some may have noticed “Nacirema” is simply “American” spelled backwards. Cleage borrowed the term from a satirical essay by Horace Miner, an anthropologist. Miner believes what one culture does and believes to be normal, others may see as unusual. Cleage feels African Americans have been forced to adopt values and norms of white society to survive and this process of assimilation has come at a cost.

Montgomery, Alabama, 1964 conjures up feelings of dread for African Americans. The play is set 10 years after the Montgomery bus boycott, and there are freedom rides into the deep South, challenging segregation. African Americans, under the tutelage of Dr. M.L. King Jr., are gearing up for a march from Selma to Montgomery to demand voting rights. But to Grace Dunbar, doyenne of the exclusive Nacirema Society, nothing is more important than its upcoming 100-year celebration ball. That set-up, in and of itself, begs one to laugh.

From the moment we meet Grace Dubose Dunbar, portrayed brilliantly by the exceptional E. Faye Butler, we know we must mind our manners. She is a high strung, outspoken, aristocrat. For a glimpse into her personality, one need only to remember Dunbar rhymes with bourgeois. She’s in the midst of preparing her granddaughter, Gracie, brought to life wonderfully by Demetra Dee, for the debutante ball organized by the Nacirema Society.

Assisting Grace is her dearest friend and fellow society member, Catherine Adams Green, played with an air of affluence by the talented Ora Jones. Catherine, being sure her grandson, the dashing Eric Gerard as Bobby Green, will propose to Gracie, has planted a story of their engagement to the local society papers. Gracie and Bobby have absolutely no intention of marrying, but out of respect for their grandmothers, they play along with the charade, at least until after the ball. Marie Dunbar, Grace’s Daughter-in-law and Gracie’s mother is aware of Gracie’s intentions and fully supports her. She is played by Sharriese Hamilton with strength and honesty.

Janet Logan, a reporter, played with steely resolve by Jaye Ladymore, will be covering the Debutante Ball for the New York Times. She will be the houseguest of Grace Dunbar, creating an extra layer of anxiety for Madame Grace to get everything just right. As if having a reporter from a major newspaper breathing down her neck weren’t enough, the daughter of the Dunbar’s late former maid, Alpha Campbell Jackson, a devious portrayal by Tyla Abercrumbie, is in town with her daughter Lillie Campbell Jackson, a lovely turn by Felicia Oduh to settle a family affair. Everyone gets more than they bargained for.

In a non-verbal role Shariba W. Rivers nearly steals the show as Jessie Roberts, the maid of Grace Dunbar, proving once again, there are no small roles.

The dual set for this production can only be described as a conspicuous display wealth. Arnel Sancianco, set designer, did a visually amazing job of creating a 1960’s upper middle-class home. There is a great room with a crystal chandelier hanging in the center. The furnishings are noticeably french, with several seating areas. There is a set of stairs leading to a library that is just as opulent as the rest of the home. The home of the late Lillie Campbell is just as impressive in its scope, a 1960’s working class kitchen with colored refrigerator and matching cabinets. Costume design by Samantha Jones was gorgeous. I can tell she likes working in this era. The jewel toned dresses were fabulous.

Cleage's is work is known for its sharp wit, and insightful commentary. “The Nacirema Society” shows her ability to combine humor with social critique. It is a thought-provoking look at the dynamics of a specific segment of African American society all wrapped up in a romantic comedy. Lili-Anne Brown did a fantastic job directing this situational comedy, she keeps the ball and the tension in the air, and despite the running time, makes us forget about the worries in the world, exactly what a comedy should do.

“The Nacirema Society” runs through October 15 at the Goodman Theatre in Chicago.

There is a Pearl Cleage festival in Chicago. Most of the events are free. You can get details at https://www.goodmantheatre.org/event/pearl-cleage-fest/

Published in Theatre in Review

Founded in 1999, Congo Square Theatre Company (Congo Square), one of the nation's premier African American ensemble theater companies, celebrates its 25th Anniversary in 2023-2024 with a powerful theatrical season honoring the myriad experiences that make up Black culture. Anchored by two live performances, the season begins with the Rolling World Premiere of Inda Craig-Galván's dark comedy about housing inequality in a Chicago suburb, WELCOME TO MATTESON!, and closes with the Chicago Premiere of August Wilson's autobiographical one-man show, How I Learned What I Learned, starring Chicago's own Harry Lennix. Congo Square's popular digital shows continue with the third and final season of the old-fashioned radio melodrama, The Clinic, and the fourth season of the hit online sketch comedy show, The Blackside. Congo Square will officially celebrate its milestone anniversary with a bigger-than-ever 25th Anniversary Homecoming celebration and its annual free Festival on the Square.

 

This season, Congo Square continues its Radical Generosity model for live performances in which, partnering with community organizations throughout the city, up to half of all tickets for each performance are donated or heavily discounted to traditionally underserved groups. To learn more about discounted community partner tickets, or to become a sponsor, email This email address is being protected from spambots. You need JavaScript enabled to view it..

"We are thrilled to be celebrating our 25th Anniversary with a diverse season that is packed with talent," said Congo Square Artistic Director Ericka Ratcliff. "At Congo Square, we are focused on three things: radical generosity, radical community, and radical expansion. As we've done since 1999, we will continue to uplift, support, and expand our community of artists and audience members through innovation and collaboration this season and for the next 25 years."

"We are also looking back at our roots this season," added Congo Square Executive Director Charlique C. Rolle"August Wilson was not only one of America's most beloved playwrights, he was also one of Congo Square's earliest supporters and mentors. We are proud to honor this impactful early relationship in Congo's history with a production of Wilson's memory play, How I Learned What I Learned, starring Congo Square Board member, the great Harry Lennix. The play will be produced in association with the Goodman Theatre, the first theater in the country to have produced every play in Wilson's American Century cycle. As we look back, we also look forward to Congo Square's future as we continue to build meaningful relationships with the best Black theater-makers in Chicago and the world."

2023-24 Programming in chronological order

The Clinic: Season Three

September 1 – October 6, 2023

Audio series

Congo Square's audio series returns for a third and final season starting September 1 with new episodes dropping weekly until the dramatic series finale on October 6.  In the old-school radio melodrama, The Clinic, Dr. Latisha Bradley's discovery will revolutionize the medical field, but her enemies will stop at nothing to keep things the way they are. Episodes will be released at congosquaretheatre.org/the-clinic. Seasons one and two are available for streaming now.

Rolling World Premiere: WELCOME TO MATTESON!

September 10 – October 1, 2023 (opening night September 29)

Northwestern University Chicago Campus Abbott Hall Wirtz Theatre, 710 N DuSable Lake Shore Dr.

 

A dark comedy by Inda Craig-GalvánWELCOME TO MATTESON! follows two Black couples over the course of a dinner party; one couple has lived in the Chicago suburb of Matteson for years, the other has just moved in after being forcibly relocated from the Cabrini-Green housing projects. A uniquely Chicago story, the play explores universal themes of gentrification, housing justice, and inter-class relationships. Directed by Congo Square Theatre Artistic Director Ericka Ratcliff, the play features Congo Square Ensemble Members Ronald L. Conner,  Anthony L. Irons, and  Alexis J. Roston. Congo Square's production of WELCOME TO MATTESON! is part of the National New Play Network's Rolling World Premiere program in which a new play will be premiered by multiple companies over an 18-month period allowing the playwright to collaborate and make adjustments while working with unique perspectives from each company. WELCOME TO MATTESON! will receive its World Premiere at New Jersey Repertory Company, Long Branch, New Jersey (SuzAnne Barabas, Artistic Director; Gabor Barabas, Executive Producer).  Tickets for WELCOME TO MATTESON! will go on sale August 1, 2023. General admission tickets are $45 and Radical Generosity tickets are $75 - covering the cost of a single ticket and sponsoring a second community member ticket. For tickets, visit congosquaretheatre.org

Pearl Cleage Festival: Angry, Raucous, and Shamelessly Gorgeous

October 8, 2023

Location to be announced

The Pearl Cleage Festival is a citywide celebration honoring the work of Atlanta's Poet Laureate, revered poet, activist, playwright, mentor, and educator Pearl Cleage. Festival events will take place across the city in September and October during the run of Cleage's Nacirema Society at the Goodman Theatre. In addition to Congo Square, other participating companies include Black Ensemble Theater, Definition Theatre, ETA Creative Arts Foundation, Ma'at Production Association of Afrikan Centered Theatre (MPAACT), and Remy Bumppo Theatre Company. Congo Square's contribution to the festival is a reading of Cleage's 2019 comedy Angry, Raucous, and Shamelessly GorgeousIn Angry, Raucous, and Shamelessly Gorgeous, two Black women performers from two different generations must confront assumptions about each other and themselves in time for opening night.

The Blackside: Season Four

October 13 – December 9, 2023

Digital video series

Congo Square's popular online sketch comedy series, The Blackside (formerly Hit 'em on the Blackside), returns for a fourth season this fall. Audiences can expect more of the witty, pitch-perfect, and timely humor that made sketches from the first three seasons like "Black History Game Show" and "Black Survivalist" so funny and poignant.  Episodes will be released weekly on Congo Square Theatre's website, social media, and YouTube channel starting October 13 with the final episode airing on December 9. The first three seasons of The Blackside are available on Congo Square's YouTube channel.

 

Chicago Premiere: How I Learned What I Learned

Spring 2024

Location to be announced

August Wilson's autobiographical play, How I Learned What I Learned, follows Wilson's journey as a young Black writer from Pittsburgh to one of the most celebrated American playwrights of the 20th century. Written three years before his death, the one-man show recounts numerous stories from the author's long career and the lessons they taught about what it means to be a Black artist in America. Congo Square Board Member, and star of stage and screen, Harry Lennix will perform the play. Most recently, Lennix has been seen as Harold Cooper on NBC's acclaimed series Blacklist, and as General Swanwick/Martian Manhunter in numerous films and TV shows in the DC Extended Universe.  How I Learned What I Learned is produced in association with the Goodman Theatre and runs concurrently with Goodman's production of August Wilson's Joe Turner's Come and Gone.

25th Anniversary Homecoming

June 21, 2024

Location to be announced

Congo Square's annual Homecoming benefit is the not-to-be-missed party of the season. In celebration of 25 years of unapologetic Black theater-making, the 2024 Homecoming benefit promises to be even bigger, Blacker, and more bodacious than ever before. Featuring food and drink, live entertainment, and one of the biggest gatherings of Chicago's Black theater artists, the evening will also include an awards ceremony honoring three artists who've impacted Chicago's theater scene.

Festival on the Square

June 2024

Various locations to be announced

Congo Square's annual Festival on the Square honors the original Congo Square marketplace in New Orleans, where people of color have built community through music, dance, art, and commerce for centuries. These FREE events feature elevated play readings – including readings from plays by the outgoing and incoming Next Up Fellows – performed in community hubs across the city.

Congo Square Industry Training Institute

Congo Square's ensemble-led Congo Square Industry Training Institute (CITI) workshops are affordable classes designed for working and aspiring artists to enhance their knowledge of the industry as well as their acting skills. Upcoming courses include Self-Tape for the Working Actor with Tracey N. BonnerMy Big Break: Breaking into the Industry with Javon JohnsonHow to Write for TV/Film with Javon Johnson; Secure the Bag: Grant Writing for Individual Artists with Ann J. DouglasClassical Interpretation with Allen Gilmore and Classical (Re)interpretation with Al Goldfarb. Each four-week workshop is $50.00 for the general public, and free for currently enrolled high school, college, or graduate school students.

 

About Congo Square Theatre Company

Congo Square Theatre Company is an ensemble dedicated to producing transformative work rooted in the African Diaspora. Congo Square is a haven for artists of color to challenge and redefine the theatrical canon by amplifying and creating stories that reflect the reach and complexities of Black Culture and is one of only two African American Actors' Equity theater companies in Chicago. Founded in 1999 with a mission to provide a platform for Black artists to present work that exemplified the majesty, diversity, and intersectionality of stories from the African Diaspora, Congo Square's guiding principles are radical generosity, radical community, and radical expansion.

Congo Square has risen to become one of the most well-respected African American theaters in the nation. Previously mentored by two-time Pulitzer Prize-winning playwright August Wilson, Congo Square's August Wilson New Play Initiative has cultivated talents such as playwright Chadwick Boseman (Marvel Studio's Black Panther), who penned the 2006 Jeff nominated play Deep AzureLisa Langford who's play How Blood Go was premiered by Congo Square in 2023, and playwright Lydia Diamond, who penned the massively successful Stick Fly, a critically acclaimed play that explores race, class, and familial friction. Stick Fly ultimately ran on Broadway and is currently being developed into a full-length series for HBO with Alicia Keys serving as a producer. Congo Square also produced the widely praised Seven Guitars, which won top honors for best ensemble, best direction, and best production at the 2005 Joseph Jefferson Awards. This would earn the theater company the distinction of being the first African American theater company to receive such an honor.

Congo Square's Samuel G. Roberson Next Up Fellowship celebrates young playwrights by providing resources for college and high school aged students to enhance their writing and identity as a playwright. Each selected fellow not only has their ten-minute play workshopped into a full-length play with Congo Square, but they also receive a yearlong writing mentorship with founding ensemble member and playwright, Aaron Todd Douglas. The 2023-24 Fellow is Maria D. Smith. Outgoing 2022-23 Next Up Fellows are Helaina Coggs and Bair Warburton-Brown.

Congo Square's Community Engagement and Education programs bring the impact of theater to young audiences. Its outreach programs, CORE (Curriculum Objectives Residency Enrichment), and CAST (Congo After School Theater), present and teach theater arts by providing classroom and after-school residencies that provide Teaching Artists to build upon already established Chicago Public Schools literature and art curriculums. CORE and CAST impact students, schools, and community organizations located on the South and West sides of Chicago.

About Goodman Theatre

Chicago's theater since 1925, Goodman Theatre (Artistic Director Susan V. Booth and Executive Director/CEO Roche Schulfer) is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement. The theater's artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics. Artists and productions have earned two Pulitzer Prizes, 22 Tony Awards and more than 160 Jeff Awards, among other accolades. Its longtime annual holiday tradition A Christmas Carol, now in its fifth decade, has created a new generation of theatergoers in Chicago. The Goodman also frequently serves as a production and program partner with national and international companies and Chicago's Off-Loop theaters. Using the tools of the theatrical profession, the Goodman's Education and Engagement programs aim to develop generations of citizens who understand the cultures and stories of diverse voices.

For more information on Congo Square's 2023-24 Season, visit www.congosquaretheatre.org.

Published in Upcoming Theatre
Wednesday, 12 April 2023 12:47

Review: 'The Cherry Orchard' at Goodman Theatre

Robert Falls is back! Well, for a short time at least to direct his adaptation of Anton Chekhov’s “The Cherry Orchard.” Falls retired as the Goodman Theatre artistic director in 2022, but his productions of Chekhov’s classics have become events to anticipate. “The Cherry Orchard” is the endcap to Falls’ Chekhov series that began with ‘Three Sisters’ and has included “The Seagull” and “Uncle Vanya”. Each a definitive production that was met with critical acclaim. “The Cherry Orchard” is no exception, in fact, it might even be his best.

“The Cherry Orchard” premiered in Moscow in 1904, just a few decades after the end of serfdom in Russia. The story follows Lyubov Ranevskaya (Kate Fry) as she returns to her family’s estate after years of living abroad. The estate has fallen into disrepair and unless the taxes are paid, Lyubov is certain to lose the property her family has held onto for centuries. Her childhood friend, a former serf, Yermolai Lopakhin (Kareem Bandealy) eagerly awaits her return, and offers her family solutions that would allow them to keep the estate. It’s also implied Yemolai is in love with Lyubov. As with any Chekhov play, the lives of the serving class are also highlighted in all their unrequited loves and general discontent.

This “The Cherry Orchard” is a veritable who’s who of the Chicago theatre scene. Kate Fry plays Lyubov with an almost manic vacillation between childlike naiveté and a crazed addict. Her powers are immediately illuminated from the moment she walks on stage. Regular Goodman player Amanda Drinkall plays the maid Dunyasha. Her giddy and absurd physical humor brings a much-needed sense of humor to a role that doesn’t offer much kindness to the family accountant Semyon—played with as much physical humor but perhaps more guttural pathos by Will Allan. Chicago stage favorite Janet Ulrich Brooks returns with another wonderful performance as the governess/trickster Charlotta. Her sleight of hand magic tricks make you wonder if she really is magic after all. Perhaps nobody is as affective as Francis Guinan as the servant Firs, who may just be the last vestige of serfdom on the property. The pottering body language and stammering delivery are devastating.

Adding to the roster of Chicago theatre staples, set designer Todd Rosenthal’s staging is nothing short of epic. There’s a striking blend of minimalism mixed with the kind of over-the-top spectacle that Goodman audiences expect. While it’s not always a necessity to have larger than life sets, some occasions just call for it and a theatrical event like this is fitting to pull out all the stops. Costumes by Ana Kuzmanic play nicely against Rosenthal’s backdrop.

If you’re going to see a classic, the team behind “The Cherry Orchard” is your best bet. Robert Falls has had an influential career turning Goodman Theatre into the institution it is today and Chicago audiences will likely continue to be enchanted by his work for years to come. His own adaptation of “The Cherry Orchard” digs deep on the idea of what it means to be free. It also showcases some terrific performances from some of Chicago’s most beloved performers. This production feels like a love letter to the theater that made Robert Falls the mastermind Chicago has come to expect. You won’t be quick to forget this epic night at the theatre.

 Through April 30 at Goodman Theatre. 170 N Dearborn. www.goodmantheatre.org.

Published in Theatre in Review

Decades before the enactment of Title IV, famous for its impact on expanding opportunities for women and girls in sports and well before the inaugural game of the WNBA, an African American women became the first to play for a professional baseball team.

“Toni Stone”, written by award winning playwright Lydia Diamond is receiving a rip-rousing production at the Goodman Theatre. Arguably, this is Lydia Diamond’s finest work, and that is saying a mouthful. She has consistently written engaging, thought-provoking work, adding beauty and depth to the American theatre canon.

We meet Toni Stone as she introduces herself and her teammates in a circus like atmosphere. She narrates the story of her life with The Indianapolis Clowns, a baseball team much like the Harlem Globetrotters. Although they play baseball and are darn good at it, their main job is to entertain. This was before African Americans were allowed to play in the all-white baseball leagues. We meet a cast of characters that are the most interesting characters I’ve seen on stage in a very long time.

Diamond wrote Stone as a beautifully complex, conflicted character. I don’t believe Toni Stone ever saw herself as sexual. She knew she wasn’t a man, but she also knew she was so much more than what was expected of a woman. She saw herself simply as a baseball player. She expected everyone to see her as a baseball player. When she meets Alberga, a male suitor that falls in love with her, she is thrown a curveball. Along with her only woman friend Millie, she navigates life as a baseball player and wife. Baseball came easy, being a wife was a bit more challenging.

This is Toni’s story, but it couldn’t be told without the assistance of a team of rambunctious, opinionated, athletic men. Under award-winning director Ron OJ Parsons’ assured and exuberant direction we are transported back to the late 1940’s.

With the help of movement director, Cristin Carole, Parson’s has his cast dancing, singing, juggling and doing acrobatics as if by second nature. This is a fun show to watch. The Actors morph into a variety of characters with striking ease.

It would be unfair not to mention some of the uniformly excellent the cast by name. Tracey Bonner is a joy as Toni Stone. Her warmth and enthusiasm are evident in this role. It’s hard to think of another actress embodying this character. The outrageously talented Edgar Miguel Sanchez plays a bookish Spec with steely resolve. Kai A. Ealy fresh off the Court stage in “The Island” gives us an energetic King Tut. Travis A. Knight goes from team bus driver Stretch to team owner Syd Pollock effortlessly. Chike Johnson brings a tender effect to Alberga, Toni’s admirer/husband. It was good seeing Chike on stage in Chicago again. Jon Hudson Odom plays a drunk ballplayer and Millie, Toni’s friend and confidant. The character of Millie could have gone too many ways of wrong, but for the writing of Diamond, the direction of Parsons and the acting expertise of Odom. Odom played Millie so understated that it was sublime and never caricature.

Todd Rosenthal’s set of a dugout with bleachers is masterful. This set has lots of surprises, with projections by Mike Tutaj it becomes the team bus, a boardroom, a bar but mostly a baseball playing field. Keith Parham’s lighting design was as high energy as the set, blinding white lights reminiscent of a summer day in the ballpark, quiet country roads at midnight.

Toni Stone was honored by the Baseball Hall of Fame in 1991 and was inducted into the Women’s Sports Hall of Fame in 1993. Although we have made inroads in sports, to date there are no women playing professional major league baseball.

Not only is this an entertaining piece of theatre, it’s also an important piece of theatre. How often does that happen?

When: Through Feb. 26

Where: Goodman Albert Theatre, 170 N. Dearborn

Tickets: $25 - $45

Info: goodmantheatre.org

Published in Theatre in Review

Like Christina Anderson, the Tony award nominated playwright of “the ripple, the wave that carried me home” I too was naively unaware of the history of segregation of public pools.

Growing up in Brooklyn, NY, at the same time as the play’s timeline, public pools were more likely segregated by class than by race. Besides, beaches were the preferred pastime on a hot summer day in NYC. The play gave me a new perspective and made me think outside my sheltered world. It is highly recommended.

As water fills the space it finds itself in, this play has many themes and ideas filling the hour and forty-five-minute running time. Themes of patriarchy, access, racial justice, family dynamics, legacy and forgiveness are all marinating together. If it doesn’t come out in the wash, it will come out in the rinse.

The play opens in 1991 with unanswered phone calls to Janice, (Christiana Clark) a recruitment officer at an Ohio University. The calls are from a Young Chipper Ambitious Black Woman (Brianna Buckley) who is representing an African American Recognition Committee in Beacon, Kansas, her hometown. They are renaming a pool in honor of her father, who was instrumental in desegregating the public pools in Beacon. They would like her to attend and participate. She takes issue, her mother was just as involved in this fight as her father. Why is she not honored?

“ripple..” is a memory play and according to Janice, some of those memories are best left at the bottom of a deep pool. Janice narrates her time growing up starting in the early 60’s as the daughter of Edwin (Ronald Connor) and Helen (Aneisa Hicks). We learn Janice’s father is from the necessity class and her mother, the thinking class. These distinctions meant very little to the white majority, but these distinctions helped the audience understand how her parents approached life.

Between scenes of narration, we see this family in action. We see a teenage Edwin demonstrate how he covertly integrated a public pool and the resulting fallout. We see the sacrifices made by Helen, so her daughter and other children can learn the mechanics of swimming.

Todd Rosenthal’s set consist of the inside of a public pool building complete pool and trophy case. To change scenes the trophy case slides out and a household scene slides in. It is a nice and clean set change. While Janice doesn’t change costumes in the 30 years of the play, the other characters change from late 50’s to the 90’s. Montana Levi Blanco caught the essence of the time period with his costume choices. Cookie Jordan did an excellent job in hair and wig design. Until I read the program, I didn’t know Aunt Gayle and Young Ambitious Black Woman were played by the same actress (Brianna Buckley). It was clearly a testament to costume, hair, wig and performance.

Jackson Gay captured the feel and energy of family life in the 60’s and 70’s. The play moved smoothly from narration to action, from joy to tears and back again.

It is interesting Anderson chose to place her play in 1991 and work backwards. 1991 was the year of the “Rodney King Riots” when the officers that beat King within an inch of his life were acquitted. King survived the beating only to die in 2012 of …. you guessed it, drowning.

 

When: Through February 12th

Where: Goodman Owen Theatre, 170 N. Dearborn

Tickets: $15-$45

Info: www.goodmantheatre.org 

 

 

Published in Theatre in Review
Tuesday, 29 November 2022 13:00

Review: 'A Christmas Carol' at Goodman Theatre

Goodman Theatre pulled up the curtain on the 45th opening night of their legendary adaptation of ‘A Christmas Carol’. Undoubtedly there are likely thousands of productions of ‘A Christmas Carol’ opening all over the country this week, but Goodman’s holiday tradition feels like a homecoming for the Chicago stage community. It’s become a rite of passage for Chicago actors to grace the Albert stage, and that helps keep this show fresh for audiences year after year.

Veteran Scrooge Larry Yando is reliably visited by three spirits and learns the error of his ways, but if that’s all there was to it, there’s no way the entire run of this show would continue to sell out each year. Goodman artistic staff includes new additions to the script, staging and costumes. You’ll never see the same production twice.

Goodman could easily phone it in for this yearly cash-grab, but they don’t rest on their laurels. ‘A Christmas Carol’ is treated with as much enthusiasm as the hottest new play from Broadway. The artistic team maintains a sense of discovery, asking audiences to see this familiar story from new perspectives. For the true meaning of ‘A Christmas Carol’ to be derived, audiences need to be able to identify with Victorian England. That can be hard to do in an era of smart phones and Tik Tok.

The spirits are recast every season and with the new casting comes a new aesthetic. The Ghost of Christmas Present is a fun and festive role for any actor, but Bethany Thomas is a wonderful addition to this year’s cast. When you’ve got a voice like Thomas’ in your company, it’s best to put it to use. More music has been added to this year’s script to showcase her talents. Additionally, a quartet of musicians has also been added this year, providing an extra layer of charm.

With the retirement of longtime Goodman artistic director Robert Falls, Chicago heavy-hitter Jessica Thebus directs this year’s ‘A Christmas Carol’. She does a great job honoring the beloved production but brings in some modern flare of her own. This production seems to lean into the spooky. Afterall, this is a Christmas ghost story.

Goodman cultivates a sense of inclusivity that stretches beyond their standard seasons. In creating programming for students and young theatre makers, Goodman has become a pillar of the Chicago arts community. Nowhere is this more exemplified than their ‘A Christmas Carol’.

From a risky investment in the late 1970s, to the holiday institution we see this year, ‘A Christmas Carol’ at Goodman has become part of Chicago’s Christmas landscape. Next to Christkindlemarket in Daley Plaza, it’s hard to find a more quintessential Chicago tradition. Through December 31 at Goodman Theatre. 170 N Dearborn St. www.goodmantheatre.org

Published in Theatre in Review
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