A Red Orchid Theatre announces its 25th Anniversary Season, including Evening at the Talk House by Wallace Shawn, directed by Ensemble Member Shade Murray, and featuring Ensemble Members Lance Baker, Kirsten Fitzgerald and Natalie West; the World Premiere of Traitor, an adaption of Ibsen's Enemy of the People by Brett Neveu, directed by Ensemble Member Michael Shannon, and featuring Ensemble Members Dado, Larry Grimm, Danny McCarthy, Guy Van Swearingen and Natalie West, with lighting designed by Ensemble Member Mike Durst; and 33 to Nothing by Grant Varjas, featuring Ensemble Member Steve Haggard. In summer 2018 A Red Orchid will also present a bonus presentation of Victims of Duty by Eugene Ionesco, directed by Shira Piven, and featuring original cast members Michael Shannon and Guy Van Swearingen.
 
In addition to the company’s Chicago productions, A Red Orchid's 2013 production of Simpatico will open the season at the prestigious McCarter Center in Princeton, New Jersey. Simpatico will feature the original cast and creative team, directed by Dado and featuring Kristin Ellis, Jennifer Engstrom, Mierka Girten, Michael Shannon, Guy Van Swearingen and Doug Vickers, with designs by Grant Sabin, Christine Pascual, Mike Durst, Joe Court and stage manager by Christa van Baale. 
 
“Our 25th anniversary season is full of landmark events for A Red Orchid,” comments Artistic Director Kirsten Fitzgerald. “In 2017-2018 we will see our first collaboration with an iconic playwright, our tenth world premiere with an ensemble member playwright, and a second collaboration with a local playwright. Ensemble is at the heart of everything we do, and we’re thrilled to present a 25th anniversary season packed with ensemble members both onstage and off. With an eye toward reaching out we are also over-the-moon to collaborate with Emily Mann and Debbie Bisno to bring A Red Orchid to the McCarter Center, as well as with Ike Holter, Tony Santiago and The Roustabouts in incubating new work right here at home."
 
A Red Orchid Theatre’s 2017-2018 Season includes:

Evening at the Talk House
by Wallace Shawn
Directed by Ensemble Member Shade Murray
Featuring Ensemble Members Lance Baker, Kirsten Fitzgerald and Natalie West
October 5 - November 19, 2017
Previews: October 5 - 8, 2017
Red Night Opening: Friday, October 13, 2017 at 8pm
 
Remember when you felt you could do anything, when there was still nothing to fear? Evening at the Talk House is a reunion at your favorite club, where old friends cozy up, raise a glass and remember gentler times when culture had value and terror wasn't the every day. This ultra-dark comedy invites us all to celebrate the 10th anniversary of the opening night of Robert's under-appreciated masterpiece, Midnight in a Clearing with Moon and Stars.  Please come. We need each other. 
 
The World Premiere of
Traitor
an adaption of Ibsen's An Enemy of the People
by Brett Neveu
Directed by Ensemble Member Michael Shannon
Featuring Ensemble Members Dado, Larry Grimm, Danny McCarthy, Guy Van Swearingen and Natalie West, with lighting designed by ensemble member Mike Durst
January 11 - February 25, 2018
Previews: January 11 - 14, 2018
Red Night Opening: Friday, January 19, 2018 at 8pm
 
In this world premiere adaptation of Heinrich Ibsen's An Enemy of the People, a small, North Chicago suburb finds the town's restart button with an investment in a newly opened charter school. After issues with the school grounds are discovered by its head of sciences, Dr. Stock, a quest to inform and correct is met with support.  But suspicion and rancor mount as truths bubble to the surface.  A play that mirrors our vital, absurd and often hilarious political times.
 
33 to Nothing
by Grant Varjas
Featuring Ensemble Member Steve Haggard
April 12 - May 27, 2018
Previews: April 12 - 15, 2018
Red Night Opening: Friday, April 20, 2018 at 8pm
 
Taking place during a real-time band practice, 33 to Nothing is a play that rocks hard and breaks hearts.  Feeling the incessant call of adulthood, individuals begin to question their role in the ensemble. Ultimately begging the question: to break up or to build stronger?  An anthem of forgiveness, loyalty and resilience when your world is being torn by the seams.
 
Summer Bonus 
Victims of Duty 
by Eugene Ionesco
Directed by Shira Piven
Featuring original cast members Michael Shannon and Guy Van Swearingen 
July-August 2018
 
Much of the original 1995 team come together to revisit Ionesco's absurd masterpiece. Choubert, the archetypal bourgeois everyman, and his wife Madeleine are spending a quiet evening at home when the Detective arrives to enlist their help in finding the previous tenant.  A roller-coaster ride of high comedy and horrific tragedy as Choubert examines his past present and future in a quest to find out where Mallot could be hiding.
 
Incubator
Also in 2017 A Red Orchid's Incubator hosts The Roustabouts inaugural production/pop-up. Founded by Ike Holter and Tony Santiago, The Roustabouts are responsible for Ike Holter's Stay Lit at Oracle and Steppenwolf theatres, and the Winehouse concert at Oracle. They will produce a new play by Ike Holter as part of A Red Orchid's Incubator series. Cast, production team and plot information are under wraps, but the project will premiere before the end of the year.
 
Ticket Information
A Red Orchid continues the FLASHPASS. As always, FLASHPASS holders get reserved seats, ticket and date flexibility, no-fee ticket exchanges, discounts for friends & family tickets, and early access to events such as readings, panel discussions, and more. The Three-show FLASHPASS is $80 and includes one ticket to each of the 3 shows in our 25th Season, excluding Press Opening and Red Nights. The Three-show Red Night FLASHPASS is $150 and includes a ticket to each of the 3 show's Red Night Opening and post-show reception with the cast and creative team.  The Preview Saver FLASHPASS is $50 and includes one ticket to a preview performance of each of the 3 shows in our 25th season. Add a ticket for the Summer Bonus, Victims of Duty, to any FLASHPASS at the time of purchase.  
 
Flashpasses may be purchased from the Box Office at 1531 N. Wells Street, Monday through Friday from 12 pm to 5 pm, by telephone during office hours by dialing (312) 943-8722, or online at www.aredorchidtheatre.org. Individual tickets will go on sale at a later date.
 
With our 25th season of ambitious and powerful storytelling, we are thrilled to announce the launch of A Red Orchid Theatre’s Red League.  At $1k or more, The Red League represents a donor community of our most committed and impactful cultural investors. Every profound and shocking moment on our stage is made possible through their critical annual contributions. Their philanthropic leadership fosters the development of raw and relevant work, creates a platform for our talented ensemble to reach new audiences, and ensures that A Red Orchid Theatre remains a source for honest, compassionate, and aesthetically rigorous theatre.
 
About A Red Orchid
A Red Orchid Theatre has served as an artistic focal point in the heart of the Old Town community of Chicago since 1993 and was honored this year with a 2016 MacArthur Award for Creative and Effective Institutions. Over the past 24 years, its Resident Ensemble has welcomed into its fold an impressive array of award-winning actors, playwrights and theatre artists with the firm belief that live theatre is the greatest sustenance for the human spirit. A Red Orchid is well known and highly acclaimed for its fearless approach to performance and design in the service of unflinchingly intimate stories. In addition to its professional season, the company is also committed to an OrKids (youth) project and hosts The Incubator (providing artists with space and time to explore new work, new forms and new artistic collaborations).
 
A Red Orchid Theatre is: Lance Baker, Kamal Angelo Bolden, Dado, Mike Durst, Jennifer Engstrom, Kirsten Fitzgerald, Joseph Fosco, Steve Haggard, Mierka Girten, Larry Grimm, Karen Kawa, Karen Kessler, Danny McCarthy, Shade Murray, Brett Neveu, Michael Shannon, Guy Van Swearingen, Doug Vickers and Natalie West.

 

Published in Upcoming Theatre
Friday, 02 June 2017 17:10

Goodman Theatre Cancels "Pamplona" Run

Goodman Theatre announced today that it will cancel all remaining performances of Pamplona starring Stacy Keach as Ernest Hemingway—a world premiere by Jim McGrath, directed by Artistic Director Robert Falls. The decision comes after Keach underwent medical testing following his opening night performance, which was halted by Falls midway through when it became clear that Keach was struggling. According to Keach’s family, doctors treating the stage and screen star have advised a period of rest and recuperation; as such, the Goodman has made the decision to cancel the remainder of the run. Out of respect for Keach and his family’s wishes for privacy, there are no additional comments at this time.
 
Ticket holders will be offered a full refund, or one of the following options: a Goodman Gift Certificate equal to the value of the tickets; tickets to the upcoming Ah, Wilderness! by Eugene O’Neill, directed by Steve Scott; or a tax deductible donation to benefit the theater’s Education and Engagement programs. A Goodman Theatre Ticket Services representative will be in touch with patrons to make arrangements.
 
Pamplona has been the rare, joyous process working with a friend and colleague to realize a passion project. Stacy Keach is one of America’s finest actors, and he and playwright Jim McGrath have rendered a beautiful and complex new piece of theater about an American icon that audiences in 11 preview performances had the opportunity to witness and reward with tremendous enthusiasm and standing ovations,” said Artistic Director Robert Falls. “I am in awe of the work Stacy has done, and especially of the courage he’s displayed in the face of adversity, and I look forward to our future collaborations. We also wish to thank our Chicago audiences and members of the media for their gracious support during this unusual circumstance.”
 
Pamplona, an 80-minute, one-man show starring Keach as the great American author Ernest Hemingway, was scheduled to run May 19 through June 25 in the Goodman’s 350-seat Owen Theatre. Keach, who has no understudy given the unique nature of the play and his extensive involvement in the project’s development, completed every preview performance from May 19-28. The May 30 opening night was halted mid-performance, and the following three performances were cancelled as Keach underwent medical testing.
 
The Goodman is grateful for its Pamplona sponsors, including The Elizabeth F. Cheney Foundation (Major Support) and Hinshaw & Culbertson LLP (Contributing Sponsor) with additional support from the Director’s Society.
 
About Goodman Theatre
 
America’s “Best Regional Theatre” (Time magazine) and “Chicago’s flagship resident stage” (Chicago Tribune), Goodman Theatre is a not-for-profit organization distinguished by the quality and scope of its artistic programming and civic engagement. Founded in 1925, the Goodman is led by Robert Falls—“Chicago’s most essential director” (Chicago Tribune), who marks 30 years as Artistic Director this season—and Executive Director Roche Schulfer, who is celebrated for his vision and leadership over nearly four decades. Dedicated to new plays, reimagined classics and large-scale musical theater works, Goodman Theatre artists and productions have earned hundreds of awards for artistic excellence, including: two Pulitzer Prizes, 22 Tony Awards, nearly 160 Jeff Awards and more. Over the past three decades, audiences have experienced more than 150 world or American premieres, 30 major musical productions, as well as nationally and internationally celebrated productions of classic works (including Falls’ productions of Death of a Salesman, Long Day’s Journey into Night, King Lear and The Iceman Cometh, many in collaboration with actor Brian Dennehy). In addition, the Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” For nearly four decades, the annual holiday tradition of A Christmas Carol has created a new generation of theatergoers. 
 
The 2016 opening of the Alice Rapoport Center for Education and Engagement (“the Alice”) launched the next phase in the Goodman’s decades-long commitment as an arts and community organization dedicated to educating Chicago youth and promoting lifelong learning. Programs are offered year-round and free of charge. Eighty-five percent of the Goodman’s youth program participants come from underserved communities.
 
Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation of the new Goodman center in 2000.
 
Today, Goodman Theatre leadership includes the distinguished members of the Artistic Collective: Brian Dennehy, Rebecca Gilman, Henry Godinez, Dael Orlandersmith, Steve Scott, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. Joan Clifford is Chair of Goodman Theatre’s Board of Trustees, Cynthia K. Scholl is Women’s Board President and Justin A. Kulovsek is President of the Scenemakers Board for young professionals. 
 
Visit the Goodman virtually at GoodmanTheatre.org—including OnStage+ for insider information—and on Twitter (@GoodmanTheatre), Facebook and Instagram.

 

Published in Upcoming Theatre

From the picturesque covered bridges of 1965 Winterset, Iowa, comes the Tony Award-winning Broadway musical, THE BRIDGES OF MADISON COUNTY, continuing Marriott Theatre’s spectacular 2017 Season, running June 21 through August 13, 2017 at 10 Marriott Drive, Lincolnshire. Featuring one of Broadway’s most accomplished creative teams with music and lyrics by three-time Tony Award-winning composer Jason Robert Brown and book by Pulitzer Prize-winning writer Marsha Norman, THE BRIDGES OF MADISON COUNTY first captured the nation’s heart as a best-selling novel by Robert James Waller and remains one of the most romantic stories ever written. Seven-time Jeff Award Winner Nick Bowling (Man of La Mancha, The King and I) returns to The Marriott Theatre to direct, with musical direction by Jeff Award Winner Ryan T. Nelson.
 
“When I first came across this piece, I was immediately drawn to the spectacular score. It’s the kind of music you fall in love with the first time you hear it, which can’t be said for all musicals,” says Director Nick Bowling. “I feel a strong personal connection to the story having grown up in a small town in Iowa similar to Winterset. Seeing my mother face the same challenges Francesca is going through in terms of navigating a world that is foreign to her, my focus is to keep the story as true to Iowa as can be. Every detail from the set design to the costumes will be inspired by Madison County’s beauty to capture the true essence of the story’s setting.”
 
A true sweeping romance, THE BRIDGES OF MADISON COUNTY is the heartbreaking and touching story of two people caught between duty and desire. A beautiful Italian war-bride who longs for the dreams of travel and excitement she once had as a girl, Francesca Johnson is a dedicated Iowa housewife living a simple, yet dispassionate life. When her family goes on a trip to the 1965 State Fair and leaves her behind to take care of the house, Francesca’s world is shattered as a ruggedly handsome National Geographic photographer, Robert Kincaid, pulls into her driveway seeking directions. A quick ride to photograph one of the famed covered bridges of Madison County sparks a soul-stirring, passionate affair for the couple, whose lives are forever altered by this chance encounter. Audiences will be swept away by Jason Robert Brown’s soulful score, drawing upon the rich textures of Americana and folk. 
 
THE BRIDGES OF MADISON COUNTY stars Jeff Award Winner Kathy Voytko as “Francesca” (The Marriott Theatre: Les Misérables; Chicago Shakespeare Theatre: Passion; Broadway: Oklahoma!, Nine, The Frogs, The Pirate Queen and Next to Normal); Jeff Award Winner Nathaniel Stampley as “Robert” (The Marriott Theatre: Man of La Mancha; Broadway/National Tour: The Gershwins’ Porgy and Bess; Broadway: The Color Purple and The Lion King; London: The Lion King; Apple Tree Theatre: Big River; Milwaukee Rep: Dreamgirls and Man of La Mancha); Bart Shatto as “Bud” (Broadway: Les Misérables, The Civil War, Dracula, Hands on a Hardbody; National Tours: Cats, The Civil War, Les Misérables); Wydetta Carter as “Marge” (The Marriott Theatre: Little Shop of Horrors); Terry Hamilton as “Charlie” (The Marriott Theatre: She Loves Me, How to Succeed in Business Without Really Trying, October Sky); Tanner Hake as “Michael”; Brooke MacDougal as “Carolyn”; and Emily Berman as “Marian” (World Premiere: Miss Bennet: Christmas at Pemberley at Northlight Theatre; Chicago Shakespeare Theatre: Sense and Sensibility). Also starring in THE BRIDGES OF MADISON COUNTY are Shea Coffman, Nick Cosgrove, Phoebe González, Allyson Graves, Johanna McKenzie Miller, Danni Smith and Brandon Springman.
 
The production will feature set design by Jeff Kmiec, costume design by Sally Dolembo, lighting design by Jesse Klug, sound design by Bob Gilmartin, projections design by Anthony Churchill, properties design by Sally Weiss, and musical supervision and orchestra conducted by Patti Garwood.
 
The performance schedule for THE BRIDGES OF MADISON COUNTY 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
Friday, 26 May 2017 03:55

Review: Strawdog's "The Night Season"

A small theatre resides on the most unlikely of streets in Chicago. Just steps from the Howard Red Line stop sits the Factory theatre, with only fifty seats in its small storefront property, this little powerhouse has produced original work for nearly 25 years. Adding to its catalog of work is The Night Season by Rebecca Lenkiewwicz and currently performed by the cast of the Strawdog Theatre Company.

When the tiny, seaside hometown of W.B. Yeats gets occupied by an English film crew making his biopic, the Kennedy's figure giving lodging to the lead actor will put a few extra coins in their pockets. They do get plenty of change, and not just Euros, as the family's three sisters and their delusional grandmother all decide it's time to stop letting life pass them by. The mother who ran away, the father who can barely leave the house, a big pile of pent-up desire, it all gets confronted in this skewed romantic comedy.

At times, The Night Season relies too heavily on stereotypes; the drunk Irish father, the senile old grandmother, the romance between a sister and the visiting actor. But one can overlook these unoriginal plot points for witty one liners expertly delivered by the superb cast of Strawdog. Two performers in particular carried the show and commanded attention whenever they were on stage, particularly together. The grandmother, Lily, played by Janice O’Neill, and the middle daughter Rose, played by Michaela Petro. These two characters epitomized the central theme of the play, that they cannot let life pass them by. Both literally and figuratively embrace the English actor played by John Eastman and it becomes clear that Lily and Rose are mirror images of one another, separated by generations but seeing themselves in each other. Both share the same blunt, crass, forceful passion for life and love, and it is through the actor that they discover their similarities and deep understandings of what each woman wants and needs in their lives. Were the play to focus solely on these two characters it would have made for an even better theatre experience.

Overall, The Night Season is funny, honest, and holds its own amidst the incredible theatre in Chicago. The cast of Strawdog Theatre Company is well worth the CTA ride to Roger’s Park to see their plays at Factory Theater. Before Spring leads to Summer, see The Night Season this season. The Night Season runs through June 24th at Factory Theater. Tickets and more can be found at www.thefactorytheater.com.

 

 

Published in Theatre in Review

The storyline in Relativity is a supposed to be a mystery. The great physicist and mathematical theoretician Albert Einstein fathered a daughter, Liserl, out of wedlock in Switzerland with Mileva Marić– but all mentions of her disappear after the age of two.


What happened to her? Several theories have been put forward – that she died of scarlet fever, that she was put up for adoption - but the historical track was largely obliterated with the destruction of many records during World War II. Though Einstein later married Marić, his daughter disappears from the historical record after 1904.


Mark St. Germaine’s Relativity poses one possibility on her whereabouts , and Einstein is confronted with it many years later, by a mysterious visitor to his quarters in Princeton. Margaret Harding (Katherine Keberlein), a journalist who has come to profile him for the Jewish Daily News – and to challenge him on his neglect of his daughter.


Suffice it to say we witness a fair amount of unresolved anger in the encounter, during which Einstein also learns he has a grandchild – also a genius - who is seeking his support in entering a top university. This colorful and intriguing tale is enticement enough to see Relativity. But an added bonus is the fact that the lead is played by the oldest working union actor in the U.S. – the indomitable Mike Nussbaum. Known for his skillful and intelligent delivery including some of David Mamet’s most challenging dramas, Nussbaum at 93 makes a striking appearance. That he can do it at all may be surprising, but Nussbaum delivers a textured and nuanced characterization of the great physicist. He is bring his all to the role, though he doesn’t project at the same intensity as in days of yore – or maybe it’s my hearing going.


The script is okay, with its once over lightly descriptions of Einstein’s unprecedented theorems, and the family angst grows tiresome pretty quickly. There is also a lot of exposition in which the reporter recounts famous quotes and anecdotes from Einstein, who fills in with one liners that elicit some laughs.


Ann Whitney plays a crotchety housekeeper and secretary, the real-life Helen Dukas, and her chemistry with Nussbaum is delightful. Their scenes provide insight into the suffering of an aging genius who is unlikely to discover new universal theories. Nussbaum brings an unusual gift to this aspect of the role, and a hunt for a piece of chalk to write a formula on a blackboard captures the essence of the matter, opening a window into the unsettling existential void.


As always Northlight delivers high production values (Jack Magaw on scenic design; JR Lederle on lighting; Stephen Mazurek fir Projection Design) and director BJ Jones does an excellent job orchestrating the production. Relativity runs through June 25 at Northlight Theatre in Skokie.

Published in Theatre in Review

Firebrand Theatre, the first musical theatre company committed to employing and empowering women by expanding opportunities on and off the stage, is pleased to announce casting for its inaugural production, the Chicago premiere of LIZZIE, the rock musical based on the true-life story of accused axe-murderess Lizzie Borden. LIZZIE will play November 11 – December 17, 2017 at The Den Theatre's Bookspan Theatre, 1333 N. Milwaukee Ave. in Chicago’s Wicker Park neighborhood. Single tickets for LIZZIE are currently on sale at firebrandtheatre.org. Season subscriptions (including 9 TO 5 THE MUSICAL) are currently available. The press opening is Tuesday, November 14 at 7:30 pm.
 
LIZZIE will feature Liz Chidester as Lizzie, Leah Davis as Bridget, Jacquelyne Jones as Alice and Camille Robinson as Emma. The late night cast/understudies, who will appear in four 11 pm performances, include Kyrie Anderson as Lizzie, Becca Brown as Emma, Amanda Horvath as Bridget and Elle Walker as Alice.
 
Directed by Victoria Bussert with music direction by Julia A. Miller and Andra Velis Simon and choreography by Janet Louer, LIZZIE features music by Steven Cheslik-deMeyer and Alan Stevens Hewitt, lyrics by Steven Cheslik-deMeyer and Tim Maner, book by Tim Maner, additional music by Tim Maner, additional lyrics by Alan Stevens Hewitt, based on an original concept by Steven Cheslik-deMeyer and Tim Maner with orchestrations by Alan Stevens Hewitt. 
 
"Lizzie Borden took an axe, gave her mother forty whacks. When she saw what she had done, gave her father forty-one." So goes the nursery rhyme describing the crime of the century that took the nation by storm when Lizzie Borden murdered her parents with an axe in 1892. Or did she? LIZZIE is a musical that reimagines that bloody legend with four women fronting a female rock band. LIZZIE is American mythology set to a blistering rock score with rage, sex, betrayal and bloody murder. 
 
"We thought casting Lizzie would be extremely difficult since the skillsets needed are so specific and challenging – yet it turned out to be the easiest casting I've ever done because Chicago is overflowing with talented women,” comments Founder and Artistic Director Harmony France. “It became immediately clear that one cast was not enough. Our regular Lizzie cast is going to blow you away, but our understudies are so incredible that we decided to add four special late-night performances so audiences can also enjoy their talents. Looking to the future, Firebrand will strive to empower both women and men, but for Lizzie we wanted to come out of the gate and flood the stage, the band and backstage with women in a way that hasn't been done before. There isn't a better show to do that with than Lizzie."
 
The production team for LIZZIE includes: Eleanor Kahn (scenic design), Charlotte M. Yetman (costume design), Maya Michele Fein (lighting design), Victoria Deiorio (sound design), Jeff Herrmann (props design) and Danielle Stack (production manager).
 
PRODUCTION DETAILS:
 
Title: LIZZIE
Music: Steven Cheslik-deMeyer and Alan Stevens Hewitt
Lyrics: Steven Cheslik-deMeyer and Tim Maner
Book: Tim Maner
Additional Music: Tim Maner
Additional Lyrics: Alan Stevens Hewitt
Based on an original concept by: Steven Cheslik-deMeyer and Tim Maner
Orchestrations: Alan Stevens Hewitt
Director: Victoria Bussert
Music Directors: Julia A. Miller and Andra Velis Simon
Choreography: Janet Louer
 
Cast: Liz Chidester (Lizzie), Leah Davis (Bridget), Jacquelyne Jones (Alice) and Camille Robinson (Emma).
Late Night Cast/Understudies: Kyrie Anderson (Lizzie), Becca Brown (Emma), Amanda Horvath,  (Bridget) and Elle Walker (Alice).
 
Location: The Den Theatre's Bookspan Theatre, 1333 N. Milwaukee Ave.
Dates: Previews: Saturday, November 11 at 8 pm and Sunday, November 12 at 3 pm
Regular run: Thursday, November 16 – Sunday, December 17, 2017
Curtain Times: Thursdays, Fridays & Saturdays at 8 pm; Sundays at 3 pm. Please note: there will not be a performance on Thursday, November 23 (Thanksgiving Day).
Late Night Performances (featuring understudies): Friday, December 1 at 11 pm, Saturday, December 2 at 11 pm, Friday, December 8 at 11 pm and Saturday, December 9 at 11 pm
Open Captioned Performances (by Molly Brennan): Sunday, November 26 at 3 pm and Sunday, 
December 3 at 3 pm
Tickets: Previews $25. Regular run $45. Late night shows $30. Students $20. Tickets are currently available at firebrandtheatre.org.

 

Published in Upcoming Theatre

The Neo-Futurists are proud to announce, in addition to a new HVAC system at The Neo-Futurarium, a special pre-season showing of Ensemble Member Kirsten Riiber's Neo-Lab production Tangles and Plaques, Thursday, June 15 at 7:30 p.m. In addition, June offers presentations of the ongoing The Infinite Wrench at Steppenwolf’s Summer LookOut Series, Friday, June 2 and Saturday, June 3 at 7 p.m. and during Pride Week, June 22 - 25. All performances are at The Neo-Futurarium, 5153 N. Ashland Ave. (at Foster) in Andersonville, unless otherwise noted.
 
NEO-LAB Presents: Tangles & Plaques – The Final Workshop Presentation
Created by Kirsten Riiber
Directed by Jen Ellison
The Final Workshop Presentation
Thursday, June 15 at 7:30 p.m.
The Neo-Futurarium, 5153 N. Ashland Ave.
Tickets: $8
 
Tangles & Plaques attempts to demystify the experience of dementia in the language of theatre— offering a vivid, poignant, participatory experience that is unique to each audience and different every performance. Ensemble Member Kirsten Riiber and Memory Care Therapist Alex Schwaninger discuss and demonstrate the process of memory loss through interviews and personal narrative about the life and death of memories; how they persist, when they depart and the ways they distort over time. Neo-Lab is an original works residency that annually commissions one new play anchored by innovative approaches to creation and shares public readings and presentations of the work in progress. Tangles & Plagues is directed by Jen Ellison and features Kaitlyn Andrews, Ida Cuttler, Justin Deming, Mike Hamilton, Nick Hart and Kirsten Riiber and a reception, with libations from Metropolitan Brewery, before and after the performance.
 
THE INFINITE WRENCH, NOW IN AN OPEN RUN, ANNOUNCES STEPPENWOLF ACCESSIBLE PERFORMANCES and PRIDE WEEKEND’S 30 QUEER PLAYS IN 60 STRAIGHT MINUTES
 
The Infinite Wrench
Open Run – Fridays and Saturdays at 11:30 p.m. and Sundays at 7 p.m.
The Neo-Futurarium, 5153 N. Ashland Ave.
At-the-door cash tickets are $9 plus the roll of a six-sided die; online pre-sales are available for $20 with a cash rollback at neofuturists.org or 773.275.5255. 
 
The Infinite Wrench, The Neo-Futurists’ open run production, is a mechanism that unleashes a barrage of two-minute plays for a live audience. Each play offers something different—some are funny, others profound. Some are elegant, disgusting, topical, irrelevant, terrifying, or put to song. All of the plays are truthful and tackle the here-and-now, inspired by the lived experiences of the performers. The Infinite Wrench is The Neo-Futurists’ ongoing and ever-changing show, performed late-night every Friday, Saturday, and Sunday 50 weeks of the year, with special performances: 
 
Steppenwolf’s LookOut Series presents The Infinite Wrench
Accessible Performances Friday, June 2 and Saturday, June 3 at 7 p.m.
Steppenwolf’s 1700 Theatre, 1700 N Halsted St.
Accessible Performances Friday, June 2 and Saturday, June 3 at 7:00 p.m.
Tickets: $15 - available at steppenwolf.org and 312-335-1650.
 
Tickets are now on sale for The Neo-Futurists two performances of The Infinite Wrench featuring accessible services for people with disabilities. For people who are deaf or hard of hearing, the performance Friday, June 2 at 7 p.m. features Open Captioning and ASL interpretation; for people who are blind or have low vision, the performance Saturday, June 3 at 7 p.m. features Audio Description and a pre-performance Touch Tour at 5:30 p.m. The cast features Neo-Futurist ensemble members Dan Kerr-Hobert, Lily Mooney, Kurt Chiang, and Jeewon Kim as well as Neo-Futurist alums John Pierson and Lisa Buscani.
 
The 1700 Theatre is wheelchair accessible and is equipped with an induction hearing loop for people who use personal hearing devices that have a T-coil. Front Bar, directly in front of the 1700 Theatre, has a push-button entrance, wheelchair accessible seating and multi-stall all-gender restrooms.
 
The Infinite Wrench presents 30 Queer Plays in 60 Straight Minutes Announces YEPP as Beneficiary
Special Benefit Performance for Youth Empowerment Performance Project: Thursday, June 22 at 7:30 p.m.
Tickets: $25 with no cash rollback
Additional Pride-Themed Performances: Friday, June 23 and Saturday, June 24 at 11:30 p.m.
and Sunday, June 25 at 7 p.m.
At-the-door cash tickets are $9 plus the roll of a six-sided die; online pre-sales are available for $20 with a cash rollback at neofuturists.org or 773.275.5255
The Neo-Futurarium, 5153 N. Ashland Ave.
 
The Neo-Futurists present their annual Pride Weekend benefit: 30 Queer Plays in 60 Straight Minutes, a special edition of The Infinite Wrench that corrals the queerest plays into one show, slaying gender roles and celebrating deviance. The cast features Neo-Futurist ensemble members Trevor Dawkins, Jeewon Kim, Ida Cuttler, Tif Harrison, Lily Mooney, Kirsten Riiber, Malic White and Neo-Alum John Pierson.
 
All proceeds of the Thursday, June 22 performance will be donated to YEPP (the Youth Empowerment Performance Project), whose mission is to create a safe environment for LGBTQ youth experiencing homelessness to address their struggles and celebrate their strengths through the process of developing a theatrical performance piece.  Executive and Artistic Director Bonsai Bermudez states, “YEPP is honored by The Neo-Futurists and their support of the mission of YEPP and our providing services for LGBTQ youth experiencing homelessness during this year’s Pride season.”
 
ABOUT THE NEO-FUTURISTS
The Neo-Futurists are a collective of writer-director-performers creating theater that is fusion of sport, poetry and living-newspaper. Originating nearly 10,000 plays within the newly launched The Infinite Wrench, 28 years of Too Much Light Makes the Baby Go Blind, and over 65 full-length productions within their immediate, non-illusory aesthetic, The Neo-Futurists have grown to become one of the most highly regarded experimental theater companies in the United States. From humble beginnings as the first late-night theater production in Chicago, they launched what became Chicago’s longest running show and today sustain multifaceted programs such as Neo-Access, The Kitchen (a micro-festival on art and performance), Prime Time, Neo-Lab and The Infinite Wrench, the ongoing late night show running 50 weekends every year. For more information visit www.neofuturists.org.
 
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The Neo-Futurists are partially supported by grants from Alphawood Foundation Chicago, Bloomberg Philanthropies, The Network for Ensemble Theaters, The Illinois Arts Council Agency, The Chicago Community Foundation, a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events, The Field Foundation of Illinois, The Gaylord and Dorothy Donnelley Foundation, The MacArthur Fund for Arts and Culture at The Richard H. Driehaus Foundation, and The National Endowment for the Arts.

 

Published in Upcoming Theatre

After a sell-out run last summer, this hilarious and inspiring story about the grit and passion required to 'make it' as an artist and the sweet rewards that come from never giving up on your dream returns.
 
Brad Zimmerman’s hit comedy My Son the Waiter: A Jewish Tragedy is returning to Chicago for a five-week engagement July 6 through August 13 at the North Shore Center for the Performing Arts, 9501 Skokie Blvd, Skokie, IL 60077. One-part standup, one-part theatrical, My Son the Waiter: A Jewish Tragedy is the story of one man’s struggle to fulfill his dream and ‘make it’ as a comedic actor in New York.
 
The fact that Brad Zimmerman has put the time in to work on his craft is an understatement. He spent 29 years “temporarily” waiting tables in New York,while continuing to pursue his dream of comedic acting. In My Son the Waiter: A Jewish Tragedy, he tells the story of his journey, along with a chronicle about his childhood, family, and misbegotten love life with warmth, wit, self-deprecating humor, and wicked charm, and combines his years of training as an actor with his innate comedic talent.
 
In his 90-minute show, Zimmerman also reviews the trials and tribulations of waiting on tables – particularly for someone not exactly invested in that career, and with little tolerance for finicky diners:
 
“I don’t want 60 questions, get to the point!” he said he would tell restaurant patrons when he sat down for an interview for The New York Times. He joked that if diners prefaced their orders by saying they were in a hurry he would say “So go!” He says he did enjoy some of the bantering he did with diners, and often tried out material on them, however there were also ‘the bossy customers who would snap their fingers to get his attention… and the health-food obsessives who elaborately customized their orders and button-holed him over ingredients.’  As he says in My Son the Waiter: A Jewish Tragedy, he was convinced his epitaph would read “I’ll be right with you.” 
 
Eventually his determination and hard work paid off, and Zimmerman went on to act - he had a small part in “The Sopranos” playing Johnny Sack’s lawyer - and to become the opening act for a number of well-known entertainers, including George Carlin, Brad Garrett, Dennis Miller, Julio Iglesias, and 6 years with Joan Rivers who said “I’ve had three great opening acts in my lifetime: Billy Crystal, Garry Shandling, and Brad Zimmerman.”
 
Zimmerman worked on the script for My Son the Waiter: A Jewish Tragedy for nine years, and performed it in small venues all over the country, including a stint at Stage Door Theatre in Florida, where it came to the attention of producers Dana Matthow and Philip Roy (Respect: A Musical Journey of Women, Old Jews Telling Jokes, My Mother’s Italian, My Father’s Jewish & I’m in Therapy). Since then, My Son the Waiter: A Jewish Tragedy spent two years at Off-Broadway’s Stage 72 at the Triad Theatre in New York, and has toured the USA from coast-to-coast.
 
My Son the Waiter: A Jewish Tragedy will run from July 6 through August 13 at North Shore Center for the Performing Arts. Tickets start at $46, and will be available online at MySonTheWaiter.com or by phone at 847-673-6300.  For group rates (10+) call 312-423-6612. For more information about My Son the Waiter: A Jewish Tragedy please visit http://mysonthewaiter.com.

 

Published in Upcoming Theatre

If you couldn't get a ticket during its sold-out run at Steppenwolf's 1700 Theatre, Teatro Vista is transferring its current smash hit La Havana Madrid for two additional weekends of performances at The Miracle Center, 2311 N. Pulaski Rd., in Chicago's Hermosa neighborhood. 

Tickets are going fast, however, for six shows only: June 2-11: Friday and Saturday at 7 p.m., and Sunday at 4 p.m. La Havana Madrid is recommended for ages 10 and up. Don't wait - all tickets are $25. For tickets and information, visit teatrovista.org.
La Havana Madrid is Teatro Vista ensemble member Sandra Delgado's world premiere play with music that reimagines a long-gone Caribbean nightclub that drew throngs of newly-arrived Latinos to Chicago's north side in the 1960s. 

The Chicago Tribune called it "a heartfelt and fascinating musical tribute...the best selling show in Teatro Vista history." 

The Chicago Sun-Times raved "Highly Recommended...(it) chronicles the many different and widely unfamiliar layers of Latino immigrant life and history in Chicago." 

Hoy wrote "La obra tiene la magia de conectar a la comunidad, de revivir recuerdos" ("the work has the magic of connecting to the community, of reliving memories.")
 
Inspired by real life stories of those who flocked to the club to celebrate and remember, Teatro Vista's theatrical recreation of the lively 1960s music club features live music and immerses audiences in the sounds of that decade from the mambo to the new sound of salsa. 

In addition to conceiving and writing the play, Sandra Delgado plays the title role of La Havana Madrid, a mystical woman who conjures vibrant songs and true stories that bring life back to the fabled nightclub. Chicago comedian and producer Mike Oquendo portrays a character inspired by Tony Quintana, one of Chicago's Spanish language radio and television pioneers.
 
Colombian-American musician Roberto "Carpacho" Marin, joined by his band of 30 years, Carpacho y Su Super Combo, perform live at every show, chronicling the history of Caribbean Latino music from mambo to the birth of salsa. In fact, Carpacho's own story is one of the play's true vignettes.
 
Rounding out the cast as Cuban, Colombian and Puerto Rican patrons, staff and musicians who all met, danced, loved and lost at La Havana Madrid are Teatro Vista ensemble members Cruz Gonzalez-Cadel, Tommy Rivera-Vega and Marvin Quijada, and, in their Teatro Vista debuts, Donovan Diaz, Phoebe González and Krystal Ortiz. La Havana Madrid is directed by Teatro Vista ensemble member Cheryl Lynn Bruce. The design team includes Ashley Woods (set), Elsa Hiltner (costumes),Heather Sparling (lights), Misha Fiksel (sound), Liviu Pasare (projections and video design) and William Carlos Angulo (choreography).
 
The Miracle Center residency is funded by The Chicago Community Trust and is part of Teatro Vista's new program TEATRO VISTA, TEATRO VECINO (Spanish for "neighbor).
 
"We are counting the days in anticipation of bringing La Havana Madrid to The Miracle Center," said Delgado. "I wrote La Havana Madrid as a show to be shared across generations of Chicagoans, and I am thrilled to be able to share it with the families in the Hermosa neighborhood. See you there. It's going to be a special celebration of Latinx, Chicago and music history at The Miracle Center every night."

 
Some history about La Havana Madrid


In the late 1950s and throughout the 1960s, Latinos from Caribbean countries such as Puerto Rico and Cuba settled all along Chicago's lakefront, from North Avenue to Devon.
Although from different countries, music brought them together. Their shared rhythms -  African rhythms - became the guaguanco, the mambo and the merengue. Now in the United States, these rhythms merged with traditional big band sounds and eventually became salsa.

On the North side of Chicago, a handful of Latino music clubs opened up: Coco Loco on Lincoln Avenue, The Mirror Lounge on North Avenue and La Havana Madrid on Belmont and Sheffield, in the second floor space now occupied by Milio's Hair Studio. While the history of La Havana Madrid may be fuzzy, what is known is Cubans opened it in the early 1960s and the club became a busy melting pot for newly arrived Latinos in Chicago. La Havana Madrid closed in the late 1960s and later became the popular folk club The Quiet Knight.
 

About Teatro Vista
 
Teatro Vista produces, develops and commissions plays that explore the wealth and variety of the human experience from a Latinx perspective. The company provides work and professional advancement opportunities for Latinx theatre artists, with special emphasis on the company's ensemble members, and seeks to enhance the curricular goals of Chicago students through theatre. Teatro Vista was recently celebrated as one of "Chicago's Cultural Leaders" by the Arts & Business Council of Chicago and received the League of Chicago Theatre's Artistic Leadership Award.

The Chicago Latino Theater Alliance is a production sponsor of La Havana Madrid. Delgado received support from The Chicago Community Trust, a 2015 Joyce Award and a 3Arts 3AP Project Grant to support the development of La Havana Madrid. She developed the script as a member of the 2015-16 Playwright's Unit at Goodman Theatre. Teatro Vista is supported by The Joyce Foundation, the Chicago Community Trust, Alphawood Foundation, Paul M. Angell Family Foundation, The MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation, Bloomberg Philanthropies, the Department of Cultural Affairs and Special Events of the City of Chicago, The Shubert Foundation, The Gaylord and Dorothy Donnelly Foundation, the Chicago Latino Theater Alliance and The Saints.
Purple Group, Cumberland Irving and Vidal & Associates, Inc. are Teatro Vista's Headline Season Sponsors. For more information, visit teatrovista.org.

Published in Upcoming Theatre
Thursday, 25 May 2017 16:15

Review: "T" at American Theater Company

The 90s really must be back because this is the second show about Tonya Harding and Nancy Karigan to debut in Chicago in the past year. American Theater Company's telling is a new play called "T" by Dan Aibel. "T" is a ninety-minute retelling of the infamous 1994 incident from the perspective of Tonya Harding's family. Margot Bordelon returned to Chicago to direct the conclusion of Will Davis' first as artistic director of American Theater Company.

"T" steers clear of camp and tabloid. What this play is essentially about is how much T, or Tonya Harding was worth to the people around her. In quick-moving scenes, Dan Aibel calculates all the ways in which Tonya Harding's husband Jeff Gillooly could profit from endorsements. In other scenes, we see her only female companion is her coach who's desperate for a win.

There is something a little strange about "T"­--a slightly lyrical tempo to the dialogue. Sentences read like work emails, missing regular parts of speech. It's an interesting choice, but it often puts uncharacteristically poetic words into otherwise simple people's mouths. It takes for granted that most of us are probably too familiar with the particulars of this crime, and therefore breezes through events without much context. There's a lot to cover in this story and while it's brief, it sufficiently wraps up in a single act.

Leah Raidt plays Tonya Harding with fierce intensity. The look is perfect. There's a duality in her interpretation that strongly resembles the real Tonya Harding without resorting to impression. She's endearingly naive but also bullish and brash. Her coach, Joanne is played by Kelli Simpkins. Her performance is like a cross of Tilda Swinton and Jodi Foster. Her scenes are the most captivating. Her character, however flawed, proves to be the moral backbone of the play.

It makes you wonder what the relevance of the Tonya Harding/Nancy Kerrigan feud is to today. Aibel tries to connect it to the beginning of the digital age, and maybe he's right. It was the last time in history that shlock news didn't go "viral." This story held a nation's attention at the speed of nightly news. Like the OJ Simpson trial, this time will always hold a special place in a certain generation's heart.

At American Theater Company through June 25th. 1909 W Byron St. 60613

Published in Theatre in Review
Page 9 of 12

 

 

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