Wednesday, 02 August 2017 12:14

"The Food Show" a unique take on cooking

As a cook and a big fan of Ina Garten, I was excited to see “The Food Show” on opening night by The Neo-Futurists theatre. The main plot of the story is about family, which is brilliantly defined through cooking. Rather than hold the show at the Neo-Futurium, there was a last-minute change in location as the theatre company is partnering with Metropolitan Brewing in Avondale. 

Upon entering the venue, we were greeted by gentleman who offered us a beer before heading to our bleacher-like seats, similar to what one would find in a football stadium or gymnasium. Yes, this was going to be a different theatre experience.

As we sat down, I noticed Tif Harrison kneading some dough that will later be used to make pasta, which was interesting to watch in itself – and pleasantly strange. I was also happy to see Spencer Meeks who starred in “We Are Going to Die” at Den Theatre earlier this year, who puts on yet another steady performance in this very unusual, yet entertaining, production. The play is divided into seven sections with an opening by Kyra Sims who was visiting from New York. 

One of the most identifiable performers in “The Food Show” is Oliver Camacho who happens to be a chef in his days before acting. He is easy to connect with and, in this particular performance, made what looked to be a perfectly seared salmon. Bilal Dardai is another intriguing character impressed upon the audience who engagingly talks about Islamic constraints of eating pork and his kid's food allergies. 

I want to be clear. The style of cooking in “The Food Show” is not refined like that you would see Ina Garten cooking up in her Hamptons home. Actors before cooking professionals, these chefs were a bit messy and their chopping skills (sorry, Bilal) need some help. But that is all part of the fun in “The Food Show”. After getting past the fact that we are not watching Gordon Ramsay, it’s easy to appreciate what the play really is - sharing life experiences over food and reflecting on where our food comes from. 

The Neo-Futurists' “The Food Show” is being performed at 3031 North Rockwell, right next to the Metropolitan Brewing. Tickets range from $10-$25 and can be purchased at www.neofuturists.org. The show will be playing until September 2nd. My tip to those planning to see this production - wear something light and breezy as there is no air conditioning in the warehouse. 

 

Published in Theatre in Review

I was very happy to see Brown Paper Box Company put together this once hugely successful romantic comedy by Neil Simon, which played on Broadway for four years with music and book by Marvin Hamlisch and Carole Bayer Sager. Produced, directed and choreographed by Daniel Spagnuolo, this semi-autographical piece about the true-life romance of Hamlisch (hot off “A Chorus Line") and Sager, who was busy writing and performing hits of her own for Barry Manilow and Melissa Manchester. 

Although “They’re Playing Our Song” is basically a two-character show, the introduction of a chorus of players playing behind each of the leads referred to as " the voices in his head" or " the girls" representing, the "ID, the EGO and Passion" is a delightful and effective tool to understanding how quickly each character’s mood is changing and reacting to every word from the other. When the characters insult each other the chorus reacts instantly and likewise when they begin to loosen up. As the two stop competing with each other’s insecurities and speak honestly about their growing love, the chorus reflects on their faces and through dance how happy each character really is on the inside. 

If only we each had such clear representations from our subconscious minds to guide us moment by moment though lovers and arguments in real life, more couples might find the happiness these two finally find by the end of the play. 

Vernon Gersch (Dan Gold) and Sonia Walsk (Carmen Risi) meet for the first time in his luxury NY apartment where he is searching for new songwriters to collaborate with and has begun working on one of Sonia's songs. Although the balance of power is off at the beginning, Sonia asserts herself by letting him know she has been writing music since she was eleven and has other lucrative offers coming in musically as well as a persistently needy, but still attractive, ex-boyfriend waiting in the wings. 

Dan Gold has an excellent singing voice for this piece but has a little trouble always delivering the "funny", as his character veers from outright patron-ism towards Walsk to put her in her place to a kind of forced sneering anger as her bubbly personality seems to outshine his own success. Still, Gold does have his moments. Risi, whose overall trained voice is pleasant puts her own spin on some of the notes originally scored for Lucie Arnaz. Risi's opening night performance early on found herself speaking way too fast for the audience to understand everything she is saying at times, which made many of the good one liners fall flat. However, once finding her comfort zone in the role as perhaps opening night nerves had quelled, Risi eventually redeemed herself, injecting it and Vernon Gersch with her infectious, if somewhat relentless bubbly, enthusiasm for him and their possibilities for living together successfully in a mutually respectful yet non-competitive marriage. Gersch finally admits that he is "terrified, literally terrified by the feelings she causes in him both loving and hateful at the same time and we as an audience understand his neurotic sense of loss of control around her perfectly. 

Gold and Risi might seem mismatched at first, but by the play’s second act their intense pairing seems justified.

Every inch of this intimate theater space was used to the max including dance numbers by all six members of the Greek chorus behind the two leads.

I liked the kitschy sets and costumes but felt music was thin, which sort of cheapens the real amount of musical talent packed onto the stage in every performer. 

I do recommend this very funny, psychologically instructive comedy for a couple's date night. 

I think every man and every woman will see parts of themselves they want to change in the struggle for power and finally supportive equilibrium of these two highly-neurotic yet supremely artistically gifted lovers that Hamlisch and Sayer so lovingly documented in this  1979 award winning musical. 

“They’re Playing Our Song” is being performed at Rivendell Theatre through August 20th. For more show information visit www.brownpaperbox.org.

 

Published in Theatre in Review

“Spamilton,” the critically acclaimed parody of “Hamilton,” welcomes Chicago actor Becca Brown to the production as the new female star. Brown has performed with theater companies including The Second City and The Hypocrites, and her TV and film credits include the 2003 feature film “School of Rock” and the second season of “Easy” on Netflix. ”Spamilton” is playing an open-ended run at the Royal George Theatre (1641 N. Halsted).with tickets on sale through October 1 and new tickets added weekly. Tickets ($35 – $99) can be purchased at the Royal George Theatre’s box office online, at Ticketmaster.comor by calling 312.988.9000.
 
“Becca originally joined the ‘Spamilton’ family as our understudy in this spring, and has consistently impressed us with her comedic timing, voice and impeccable impersonations,” said ‘Spamilton’ creator and director Gerard Alessandrini. “It was undeniable that she would be the immediate choice to become the next female performer in Chicago, and she’s seamlessly blended into the show next to our talented ensemble.” 
 
Created by Tony Award honoree Alessandrini, the mastermind behind “Forbidden Broadway,” “Spamilton” officially opened in Chicago on March 12 to rave reviews, with Hedy Weiss of the Chicago Sun-Times calling “Spamilton” an “altogether brilliant, hilarious, cliché-demolishing send-up of ‘Hamilton,’” Chris Jones of Chicago Tribune noting “You really don’t want to miss ‘Spamilton,’” and Barbara Vitello of the Daily Herald exclaiming the show is “deliciously silly. The laughs come fast and furious!” The all-Chicago “Broadway ready” (Chicago Sun-Times) cast includes Donterrio Johnson, Adam LaSalle, Becca Brown, Eric Andrew Lewis, Yando Lopez and David Robbins, as well as Sydney Charles and Brandon Kinley.
 
Becca Brown is a native Chicagoan actor, comedian and musician with training from University of Illinois at Chicago, The Second City Training Center and iO Training Center. Brown has performed music and stand up all over the country and is a regular performer at The Second City, iO, Laugh Factory and Salonathon. Recent theatre credits include “American Idiot” (The Hypocrites) and the title role in “Jenna Roxy” and the “Church of Modern Love” (The Hideout). Movie fans may recognize Brown as the female bassist in the 2003 film “School of Rock,” and she can be seen in the upcoming second season of “Easy” on Netflix. Brown is represented by Shirley Hamilton Talent.

“Spamilton,” which was initially scheduled in New York as an exclusive 18-performance off-Broadway engagement, has extended three times and is now playing its fourteenth smash month of an open engagement at the 47th Street Theatre in the heart of New York’s Theatre District. The New York production earned rave reviews across-the-board, with Ben Brantley of The New York Times calling it “smart, silly and convulsively funny!” and Lin-Manuel Miranda exclaiming “I laughed my brains out!” In its Chicago premiere, the local cast received additional acclaim, with critics hailing the production “endlessly entertaining” (Performink), “A Must-See!” (BroadwayWorld.com), and “razor sharp and filled with wit and humor” (Chicago Theatre Review). On opening night, cast members from the Chicago production of “Hamilton” were in the audience, and following the performance Wayne Brady called the production “Amazing! It’s the perfect blend of funny and parody. Go see ‘Spamilton!’
 
In addition to Alessandrini, the creative team includes Gerry McIntyre (Choreography), Dustin Cross (Costume Design), Milo Blue (Scenic Design), Andy Kloubec (Lighting Design), Matt Reich (Sound Design), Jamie Karas (Prop Design), Leah Munsey-Konops (Wig Design), Fred Barton (Musical Director), and Richard Danley and Fred Barton (Musical Arrangements).
 
“Spamilton” is produced in Chicago by John Freedson, David Zippel, Gerard Alessandrini, Margaret Cotter and Liberty Theatricals, in association with JAM Theatricals. 
 
The performance schedule for “Spamilton” is as follows: Tuesdays through Fridays at 7:30 p.m., Saturdays at 5 p.m. and 8 p.m. and Sundays at 2 p.m. and 7 p.m. For additional details, visit Ticketmaster.com or TheRoyalGeorgeTheatre.com. For more information, visit Spamilton.com.

Published in Upcoming Theatre

The Second City is excited to announce “I Can’t Believe They Wendt There: The Roast of George Wendt” a night guaranteed to destroy one of the world’s most beloved comedy legends, George Wendt--all in the name of charity.
 
Roastmaster Jason Sudeikis, along with Roasters Bob Odenkirk, Betty Thomas, David Koechner, and a growing list of the biggest and brightest names in comedy will gather for this once-in-a-lifetime evening of comedy and camaraderie to benefit Gilda’s Club Chicago and The Second City Alumni Fund, hosted at Chicago’s iconic Mainstage at The Second City.
 
The one-night-only performance will take place on Saturday, September 9th, 2017 in the Second City Mainstage Theater (1616 N. Wells, Chicago, IL 60614) The show will begin at 7:00pm.
 
“The Second City has been a phenomenal friend of Gilda’s Club Chicago since we opened in 1998, and we are grateful for the opportunity to partner with them on this exciting event,” stated LauraJane Hyde, CEO of Gilda’s Club Chicago. “Support like this helps us continue to ensure that anyone impacted by cancer is empowered by knowledge, strengthened by action and sustained by community.”
 
“We’re looking forward to an incredibly special evening that brings back the long-lost art of the Dean Martin-era celebrity roast. It’s been a few years since George has returned to his old stomping grounds here at Second City, and he’s saint of a guy for letting us put him in the hot seat for two incredible causes. We are thrilled to be able to partner with Gilda’s Club Chicago again for this tremendous opportunity to impact the lives of those who are battling cancer, their support circles, and also the members of our own Second City family who are up against the most challenging of circumstances.” Andrew Alexander, CEO/Executive Producer of The Second City.
 
Tax-deductible tickets for the “I Can’t Believe They Wendt There: The Roast of George Wendt” are on sale now and are organized into three ticketing tiers.
 
Top-Shelf VIP Tickets ($3,000 each) include a pre-show VIP reception inside Second City’s historic complex at 1959 Kitchen & Bar. Includes a photo opportunity with George & Jason. Appetizers and top shelf open bar service provided.
 
The 1959 Package ($1,959 each) features a backstage experience led by Second City’s Behind the Bentwood tour guides including special surprise guests. Open bar & dinner in Mainstage Theater provided by the best of Chicago's classic cuisine is also included.
 
General Admission is also available ($1,000 each) and includes open bar & dinner in Mainstage Theater provided by the best of Chicago's classic cuisine.
 
Tickets are tax-deductible and can be purchased online at www.secondcity.com or by phone at 312-664-4032.

Published in Upcoming Theatre

Led by the original Broadway powerhouse team, including ten-time Jeff Award-winning director Gary Griffin, Tony Award-nominated choreographer Denis Jones, and Emmy Award-winning costume designer Brian Hemesath (PBS’s “Sesame Street”, NBC’s “SNL”), HONEYMOON IN VEGAS, a loving throwback to the classic American musical, makes its Regional Premiere at Marriott Theatre, 10 Marriott Drive in Lincolnshire with previews August 23, opening August 30 at 8 pm, and running through October 15. With music and lyrics by three-time Tony Award-winning composer Jason Robert Brown and book by highly-acclaimed American screenwriter Andrew Bergman, HONEYMOON IN VEGAS is a hysterical romantic comedy, based off the hit 1992 film. The veteran team also includes Jeff Award-winning musical director Ryan T. Nelson and Jeff Award-winning associate choreographer William Carlos Angulo.
 
“HONEYMOON IN VEGAS brings a modern twist to the beloved classic American musical, written by a contemporary writer for today’s audiences,” says Director Gary Griffin. “And there’s just something about Chicago. I am excited to give The Marriott Theatre audiences unprecedented access to this particular show, with so many touch points coming straight from the Broadway stage.”
 
A delightful and bouncy mix of old-time Vegas and contemporary musical theatre, HONEYMOON IN VEGAS tells the story of Brooklyn couple Jack Singer and Betsy Nolan, who have escaped to Las Vegas to tie the knot. Everything changes when the couple encounters Tommy Korman, a dashing Vegas gambler who believes Betsy is a spitting image of his deceased wife. With Tommy’s determination and Jack’s hopeful heart, HONEYMOON IN VEGAS throws the audience on a hilarious rollercoaster ride of love, humor, and competition for true romance.
 
HONEYMOON IN VEGASstars Jeff Award Winner Michael Mahler as “Jack Singer” (Broadway: Miss Saigon; Marriott Theatre: October Sky, Hero,City of Angels); Samantha Pauly as “Betsy Nolan” (Marriott Theatre: Evita, Elf the Musical); Jeff Award Winner Sean Allan Krill as “Tommy Korman” (Broadway: Mamma Mia!, Honeymoon in Vegas, and On a Clear Day; National Tour: Thoroughly Modern Millie; Marriott Theatre: Brigadoon, 1776, and Pirates of Penzance); Cole Burden as “Buddy Rocky/Roy Bacon” (National Tours: Les Misérables, The Bridges of Madison County; Marriott Theatre: Legally Blonde); Marya Grandy as “Bea Singer” (Broadway: Les Misérables; Marriott Theatre: How to Succeed In Business Without Really Trying, Sister Act, and On the Town); and Steven Strafford as “Johnny Sandwich” (National Tours: Spamalot, Peter Pan, Cinderella, and Grease; Marriott Theatre: She Loves Me and Madagascar). Also starring in HONEYMOON IN VEGAS are DeShawn Bowens, Christine Bunuan, Aaron Choi, Shana Dagny, Devin DeSantis, Alejandro Fonseca, Alex Goodrich, Anne Gunn, Kristina Larson, Tyler John Logan, Richard Manera, James Rank, Jessica Wolfrum Raun, Drew Redington, Laura Savage, Allison Sill, and Ambria Sylvain.
 
The production will feature set design by Kevin Depinet, lighting design by Jesse Klug, sound design by Robert E. Gilmartin, properties design by Sally Weiss, projections design by Anthony Churchill, and musical supervision and orchestra conducted by Patti Garwood.
 
The performance schedule for HONEYMOON IN VEGAS is Wednesdays at 1:00 p.m. and 8:00 p.m., Thursdays and Fridays at 8:00 p.m., Saturdays at 4:30 p.m. and 8:00 p.m., Sundays at 1:00 p.m. and 5:00 p.m., with select Thursday 1:00 p.m. shows. Ticket prices range from $50 to $60, including tax and handling fees. Call for student, senior and military discounts. On Wednesday and Thursday evenings there are a limited number of FREE dinners available with the purchase of a full-priced theatre ticket, which can only be purchased through the Marriott Theatre Box Office. To make a restaurant reservation, please call 847.634.0100. Free parking is available at all performances. To reserve tickets, please call The Marriott Theatre Box Office at 847.634.0200 or go to www.ticketmaster.com. Visit www.MarriottTheatre.com for more information.

 

Published in Upcoming Theatre

The summer concert season kept rolling at Ravinia with Stephen Stills and Judy Collins. The manicured lawns were graced with the musical talents of two folk singers that started their careers a half century ago. As they went along through the course of a ninety-minute set they presented their own style of serene music for everyone to hear.

Concert-goers were allowed a dry spell long enough to enjoy a good show. The humidity was starting to fade into night as people munched on short rib tacos and sipped wine from Ravinia’s restaurants. The well-groomed crowd mostly decked in white pants and khakis were preparing themselves for a time to remember.

Kenny White started out the evening with a solo piano show. He tickled the ivories for a short warm up to set the tone for the evening. Calm and mellow was the mood for this outing. The opening act was brief, but filled with soft tones that were easy on the ears.

Then came the time for the main act and the legendary artists came out together as if they owned the world. The first song for the evening was the Traveling Wilburys' hit song “Handle with Care”. It was a great way to start off the show and get the crowd’s attention. After nearly fifty years since these two performed together live, Collins and Still fell back into it as if it were meant to be.

Stills had some guitars with him that were not just for an everyday player. Two mid-fifties Fender Stratocasters made their way into the hands of the guitar legend and he was more than worthy to play them. His sound was smooth and pristine. His solo capabilities were incredible and he could even up with any guitar great out there. His voice was crystal clear and very pleasant to hear.

Stephen changed guitars after almost every song. He went back and forth between one of the Strats to a Gretsch Stephen Stills Signature model and a few Martin acoustics. He told a story about buying one smaller bodied Martin acoustic while on tour. He joked how if you are traveling North in Minnesota in February that your musical career was just about over with. After a good laugh from the audience he continued by saying he bought the guitar to perform for the evening.

A white light came up from behind Collins and lit up her hair as if she were an angel. Her voice was refined and her guitar abilities were excellent. Her instrument of choice was a Martin Judy Collins Signature Model. She strummed chords on the beautiful twelve-string while providing some incredible vocal harmonies. She is truly just a stunning woman to see and hear.

The two pulled out some songs that made the crowd very happy as toes tapped and bodies swayed. Judy brought out a bigger hit “Both Sides Now”. The mellow upbeat song was an excellent choice for the set list that put a smile on so many faces. Stills played the classic rock anthem “Carry On”. The CSN masterpiece was like a shot in the arm of adrenaline. After all, they were being entertained by one of their heroes.

Stephen started to strum out the chords to a song that turned out to be a high point for the evening. Once lyrics came out, “There’s something happening here…” the crowd started to applaud with excitement. The Buffalo Springfield song “For What It’s Worth” was heard through the venue and everyone knew the words. The show would not have been the same without the iconic protest song about the Sunset Strip curfew riots.

It came time for an encore and they saved the best for last. “Suite: Judy Blue Eyes” written for Judy Collins was a reason that a lot of people attended the show. The torch song was first unveiled for the public at Woodstock in 1969 and it brought this crowd to their feet. Singing along with every word it made the evening complete.

The show ended and everyone started to make their way back to their mode of transportation. The fountain outside the main entrance was lit up in every spectrum of the rainbow. As the colors changed a few raindrops started to fall. Thankfully it held out just long enough for this perfect evening.

Ravinia Festival in Highland Park provided the setting for this great concert that was brought together from the love felt within two musicians. Stephen Stills and Judy Collins graced the grounds with their unbelievable talent and performed a mellow musical set for its well-behaved onlookers. It was a night to remember.

 

Published in In Concert

‘S wonderful. “An American in Paris” was the surprise hit of 2015 on Broadway. It is of course the stage adaptation of Vincent Minnelli’s 1951 Best Picture winner of the same name. With familiar songs by George and Ira Gershwin, it would be hard not to be charmed.

 

To appreciate this “new musical”– you need to go back to a simpler, post-war era. Musicals were essentially plotless vehicles for stars like Gene Kelly and Judy Garland to showcase their talents. If some of the songs sound recycled here, that’s because they were. Often Cole Porter, Irving Berlin and the Gershwins repurposed their songs for multiple films. If it’s not broken, don’t fix it.

 

The stage musical devised by Craig Lucas and Christopher Wheeldon is fairly standard. While it may not be a reinvention of the wheel, it artfully pays homage to Vincent Minnelli’s lush style. Wheeldon’s ballet-flavored choreography is beautiful. The playfulness is tres Francais. Sometimes when a show hits the road, the production has to sacrifice some visual elements for the sake of portability. Not the case here. It’s impressive how well the vivid set pieces and projections travel. Visually, this “American in Paris” is stunning.

Sara Esty in the role as Lise evokes the spirit of a young Leslie Caron who starred in the original. Esty has been with the production since its conception at the Theatre du Chatelet in Paris. Though, her dialogue is sparse, she’s a lithe dancer and thoroughly adorable. Her co-star McGee Maddox takes up Gene Kelly’s role as Jerry Mulligan. What he loses in convincing line delivery he more than makes up for with impressive dance.

If you’re asking yourself, why “An American in Paris” or why now? Why not is a good answer. This show endures because it casts a heartwarming spell over audiences from varied generations. It may not be the most poignant musical, but for the nostalgia lover or Francophile this is sure to bring a smile to your face.

 

Through August 13 at The Oriental Theatre. 24 W Randolph. Broadway in Chicago

Published in Theatre in Review

It was a night for the archetypes of rock at Ravinia this past weekend. The rain finally let up for a cool evening to rock the night away with “Rage and Rapture”, the new Blondie and Garbage tour. The eclectic crowd of Garbage fans and Blondie fans filled the pavilion and spread across the grass in anticipation of these female rock icons.

Opening songs were played by John Doe and Exene Cervenka, mid-west natives, making their Ravinia debut. The long time musical duo, which has been performing since the 70’s (as a group and as solo artists) had the crowd swaying to their music and enjoying their last night on the “Rage and Rapture Tour”. The warm up act was well received with much applause and appreciation.

As the lights phased out and the stage was covered in a flood of red light, Shirley Manson and the band members of Garbage took to the stage. In what can only be called her signature look, Manson and the boys took over. This band first met in Chicago and began putting out music in 1995.Their latest album “Strange Little Birds” was released in 2016. The audience reveled in songs like “Only Happens When It Rains”, “Stupid Girl”, “Push It” and “Cup O’ Coffee”.  Fans were on their feet dancing and singing along. The energy was palpable.  It was a warmly welcomed and exciting first appearance at Ravinia for Garbage.

Then, although a hard act to follow, Blondie took the stage with backdrop images of buzzing bees. Debbie Harry sported a Pollinator mask (also the name of her May released album) and cape with a bold statement about the treatment of the Earth. Following a forty-year history of the powerhouse that is Blondie, original members, 72-year-old Debbie Harry, 61-year-old Clem Burke (drummer), and guitarist Chris Stein (67 years) were joined on stage by the new age members Tommy Kessler, Leigh Fox, and Matt Katz-Bohen, in a testimony of iconic style, creative music and a love for all people. The audience surged to the edge of the pavilion and remained on their feet. Fans sang along to signature songs like “One Way or Another,” “Hanging on the Telephone,” and “Heart of Glass”. The crowd also continued to sing along with Blondie’s new releases, having fun with tracks like “Fun”.

It was a night to rock out at Ravinia with some rocking music and iconic ladies. It was night not to be missed!

For a list of upcoming Ravinia shows, click HERE.

 

Published in In Concert

In the Chicago premiere of Cirque du Soleil’s 38th original production, LUZIA (a combination of two Spanish words, luz (light) and lluvia (rain)) transcends the audiences into a lucid dream, an imaginary world of Mexico. Based on traditional Mexican culture, this Big Top show reflects back on the beautiful country and the rich culture, history and mythology it draws its inspiration from; it’s playful, colorful and romantic.

LUZIA opens with the curious traveler/clown descending onto the stage outfitted with a large golden disk that resembles Aztec calendar; he turns a large key, and everything comes to life. Nature figures prominently in this beautiful spectacle: rain water, desert, animals and enormous insects crawling around during some acts will keep the kids in the audience well entertained. For the first time in Cirque du Soleil’s touring history, water is made an integral part of the show; rain is incorporated into acrobatic and artistic scenes; at one point the rain itself magically turns into silhouettes of plants and animals (set designer Eugenio Caballero). The stream of water culminates in the cenote (a naturally occurring sinkhole the Mayan believed was a sacred gateway to the afterlife) at the center of the stage floor. During visually enticing Aerial Straps act the performer glides across the cenote, flipping his long, wet hair around and interacting with a life-size puppet-jaguar whose movements are so well choreographed, the entire scene looks like a CG (puppet choreography by Max Humphries). Another highlight of the show for me was the contortionist Aleksei Goloborodko’s act, who is believed to be the most flexible person in the world. He first appears folded like a giant tarantula, then stretches into a snake and morphs back again into an insect – mesmerizing!

Guinness World Record holder Rudolf Janecek’s impressive performance (he can simultaneously juggle 7 pins at mind blowing speeds) is a tribute to the art of speed juggling popular in Mexico. Another time-bending act is the Hoop Diving with acrobats wearing bird costumes; the clever use of two treadmills creates the illusion of time speeding up.

A distinct vintage detail abounds throughout the show giving it a classy old Mexico feel. The old movie set is a reminder of simpler times, and the beautiful Adagio number has a romantic 1920’s flare with the three porters hurling a seemingly weightless female flyer above their heads in a graceful dance.

Costume designer Giovanna Buzzi kept the costumes colorful but subdued, with each scene having its own color or combination of colors creating bright yet sophisticated scenery.
As expected from a Cirque du Soleil show, a live band with a singer (Majo Cornejo) provide accompaniment during some acts, performing a total of 15 songs.

In the end, everything comes together: the music, the costumes, the performances. Co-written by Hamelin Finzi and director Daniele Finzi Pasca, LUZIA is a magical journey to the heart of Mexico. Highly recommended!

For more show information or to purchase tickets, click HERE.

Cirque du Soleil
LUZIAis Cirque du Soleil’s 38th original production since 1984, and its 17th show presented under the Big Top. The company has brought wonder and delight to more than 160 million spectators in more than 400 cities on six continents. Cirque du Soleil has close to 4,000 employees, including 1,300 performing artists from close to 50 different countries.
For more information about Cirque du Soleil, visit www.cirquedusoleil.com.

Published in Theatre in Review

Route 66 Theatre Company is pleased to conclude its ninth season with the Chicago premiere of Halley Feiffer’s dark comedy A FUNNY THING HAPPENED ON THE WAY TO THE GYNECOLOGIC ONCOLOGY UNIT AT SLOAN-KETTERING MEMORIAL CANCER CENTER OF NEW YORK CITY, directed by Keira Fromm, playing August 24 – September 23, 2017 at The Den Theatre’s new Bookspan Theatre, 1333 N. Milwaukee Ave. in Chicago. Tickets are currently available at route66theatre.org. The press opening is Tuesday, August 29 at 7:30 pm.

A FUNNY THING… features Judy Lea Steele, Meg Thalken, Stef Tovar and Mary Williamson.
 
A foul-mouthed twenty-something comedienne and a middle-aged man embroiled in a nasty divorce are brought together unexpectedly when their cancer-stricken mothers become roommates in the hospital. Together, this unlikely duo must negotiate some of life’s biggest challenges... while making some of the world’s most inappropriate jokes. Can these two very lost people learn to laugh through their pain and lean on each other when all they really want to do is run away?
 
Director Keira Fromm comments, "A Funny Thing… is a play about the ways we use humor as both a balm and a barrier to protect us from the litany of life's discomforts. I'm drawn to plays about the ways in which we cope with life. When those plays involve surviving spiky family relationships, I'm all in. Halley Feiffer is no-holds-barred when it comes to showing extremely flawed individuals at their messiest. She's also completely fearless when it comes to exposing the raw spots that result from the friction of our most fragile family relationships. This play is unbelievably funny one moment and moving in the most throat-grabbing of ways the next. I can't wait to dig in."
 
Artistic Director Stef Tovar adds, “This play was a hit in New York last summer at MCC and the Geffen Playhouse in LA is producing it right after we open with Halley Feiffer playing the role of Karla... so for a theater company our size to secure the Chicago premiere is huge for us. We're so grateful to Halley for trusting us with her incredible script and this dynamite group of ladies are going to kill it. I can't wait to get started."
 
The production team team for FUNNY THING… includes: Courtney O’Neill (scenic design), Mieka Van der Ploeg (costume design), Claire Margaret Chrzan (lighting design), Christopher Kriz (sound design), Amanda Hermann (properties design), Sasha Smith (intimacy choreographer), Catherine Allen (production manager), Helen Lattyak (stage manager) and Matthew Bonaccorso (asst. stage manager)
 
PRODUCTION DETAILS:
Title: A FUNNY THING HAPPENED ON THE WAY TO THE GYNECOLOGIC ONCOLOGY UNIT AT SLOAN-KETTERING MEMORIAL CANCER CENTER OF NEW YORK CITY
Playwright: Halley Feiffer
Director: Keira Fromm
Cast: Judy Lea Steele (Geena), Meg Thalken (Marcie), Stef Tovar (Don) and Mary Williamson (Karla).
 
Location: The Den Theatre’s Bookspan Theatre, 1333 N. Milwaukee Ave., Chicago
Dates: Previews: Thursday, August 24 at 7:30 pm, Friday, August 25 at 7:30 pm, Saturday, August 26 at 3 pm & 7:30 pm and Sunday, August 26 at 3 pm
Regular run: Thursday, August 31 – Saturday, September 23, 2017
Curtain Times: Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 8 pm; Sundays at 3 pm
Tickets: Previews: $25 adults. Regular run: $35 adults; $20 students. Discounts available for groups of 10 or more. Tickets are currently available at route66theatre.org.

 

Published in Upcoming Theatre
Page 5 of 18

 

 

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