Upcoming Dance

John Accrocco

John Accrocco

Wednesday, 09 November 2016 23:56

Review: Porchlight's "End of the Rainbow"

To say Judy Garland led a tumultuous life is an understatement. In a way, she was the mid-century equivalent of Amy Winehouse. A once brilliant, and at times triumphant star who faded out much too soon. Maybe some will only remember Judy as Dorothy Gale, but in her short career Judy was an international phenomenon. Her dependence on prescription pills and alcohol created a tortured existence of financial and emotional instability. Judy Garland died of a drug overdose in 1969. Her New York City funeral is often considered the catalyst of the Stonewall Riots.

 

There have been several TV specials, documentaries, and movies made about Judy's life. Some better than others. A small West End show, "The End of the Rainbow" about the final months of Garland's life became a smash hit in 2010. A huge part of the show's success was star Tracie Bennett's uncanny likeness to Judy. Bennett and "Rainbow" transferred to Broadway in 2012.

 

This show is popular right now in regional productions, but Porchlight Music Theatre's production is the Chicago premiere. Playing Judy is Angela Ingersoll. Under the direction of Michael Webber, Ingersoll turns in a tour de force. She's wise not to veer into impression and makes definitive choices for her Judy, focusing on character rather than accuracy. Though, she really brings it home in the cabaret-style musical sequences. She captures Judy's intimate performance techniques that make an audience feel warm.

 

The book by Peter Quilter is more of a dramatic play than musical, but the songs are all selected from Judy's regular repertoire. Quilter's script is a well-rounded account of Judy's life almost entirely composed of actual quotes and first hand accounts from her life. Judy's demise is an unpleasant story and "The End of the Rainbow" covers it without getting morbid or tabloid.

 

Porchlight's production of "End of the Rainbow" starring Angela Ingersoll is a deeply moving account of the hidden side of show business. It's also a bittersweet tribute to one of Hollywood's biggest legends. For Garland fans young and old, this show is not to be missed.

 

Through December 9th at Stage 773. 1225 W Belmont Ave. 773-327-5252

 



 

Sunday, 16 October 2016 13:43

Review: The Trump Card at Theater Wit

"Atlantic City is like a real life, 3D Bruce Springsteen song, and not one of the good ones. Something off Nebraska," controversial monologist Mike Daisey waxes in his new show "The Trump Card." Daisey, a master storyteller, made a splash in 2010 when his Apple expose "The Agony and the Ecstasy of Steve Jobs" aired on This American Life. It remains the most downloaded episode in the show's history. It was retracted two months later when NPR discovered that some of the details had been fabricated. For some performers, this sort of public shame would be crippling. Daisey apologized and has moved on. 

 

As with his other works, "The Trump Card" positions Daisey at a long table against a black drop, on an otherwise empty stage. He occasionally reads his near two-and-a-half hour rant about Donald Trump, punctuating by wiping the sweat from his brow. Daisey fluctuates between an oral history of Trump, and his own commentary on the Republican nominee's troubled campaign. The genius of his monologue is how quickly he's able to include new and awful facts that seem to be bleeding out of the campaign everyday. While Daisey's contempt of Donald Trump is palpable, he doesn't shy away from skewering his smug liberal audience. He shifts in and out of the narrative, finding pit-stops and inventive metaphors along the way. 

 

Daisey holds his satire of the GOP candidate to a more intellectual standard than Alec Baldwin on SNL. Rather than bemoan what we've come to accept as normal, Daisey makes a case for the average Trump supporter. He even lectures the "American theater-going audience" for their elitism. He paints a somewhat bleak picture of the electorate, but that doesn't stop the laugh-a-minute jokes of this not-to-be-missed performance. "The Trump Card" is an illuminating and frightening look at how even if Trump loses, the conditions that made his candidacy possible will remain. Actors Elizabeth Ledo, Joe Foust and Steven Strafford will host a special Election Night performance here in Chicago where they will be performing parts of Daisey's monologues. 

 

Election Night encore November 8th at Theater Wit. 1229 W Belmont Ave. 773-975-8150. 

 

 

 

 

 

Friday, 16 September 2016 16:17

Review: Shattered Globe's "True West"

In a Sam Shepard play, rarely are things what they seem. His 1980 play "True West" is no exception. Under the direction of James Yost, Shattered Globe Theatre tackles this modern classic. "True West" is often considered part of a family saga by Shepard that includes his 1979 Pulitzer Prize winner "Buried Child." 

 

Austin and Lee are two brothers who couldn't be more different. Austin (Kevin Viol) is an upstanding writerly type who we first meet hunched over a typewriter in his mother's kitchen. Lee (Joseph Wiens) is his hulking older brother with a checkered past. Austin is working on a script in his mother's house while she's on vacation. Hoping for some peace and quiet, he's interrupted by Lee whom he hasn't seen in five years. Over the course of Act I, we watch as Lee and Austin battle for superiority through frustratingly inane questions. The moment of reckoning comes when Lee highjacks Austin's meeting with an important Hollywood executive. 

 

What the play points to in American culture is that bullies win. Bullies get what they want and being a polite makes you weak. This theme couldn't be more relevant as we look to a certain unpresidential candidate running for president this year. No matter how much evolution we have to the contrary, human nature is that the strongest eat first. Austin and Lee can be interpreted as two parts of the same mind. Shepard often opines on the perception of masculinity. "True West" explores the duality we all possess. 

 

There's a special place in Chicago's theater community for "True West." It was one of the first out-of-town successes of a then fledgling theater company, The Steppenwolf. Gary Sinese and John Malkovich starred in the principal roles. It transferred off-Broadway in 1984 and helped establish The Steppenwolf as one of the best regional theaters in America. 

 

Director James Yost's vision for this show is faithful. The set by Greg Pinsoneault drops us right into 1980. Sarah Jo White's costumes are also very authentic. Performances are this production's strongest asset. Kevin Viol's breakdown between Act I and II is hilarious. While Joseph Weins' character stays mostly static throughout the play, his commitment to the grossness of extreme masculinity echos Marlon Brando as Stanley Kowalksi. Shattered Globe's production of "True West" shows their knack for bringing topical themes to classic works. 

 

Through Oct 22nd. Shattered Globe Theatre. 1229 W Belmont Ave. www.theaterwit.com

 

 

Wednesday, 27 July 2016 11:42

Review: Byhalia, Mississippi at Steppenwolf

Earlier this year, The New Colony in collaboration with Definition Theatre, produced a smash hit called 'Byhalia, Mississippi.' The New Colony has done a great deal to insert themselves into the Chicago theater landscape over the past few years. Some of their work has even appeared off-Broadway, as was the case with their acclaimed show 'Five Lesbians Eating a Quiche.' What the New Colony is perhaps best known for is their commitment to taking chances on quirky new work from emerging playwrights. 

 

'Byhalia, Mississippi' is about one of the most 'Jerry Springer' scenarios you can imagine. A married white woman, Laurel (Liz Sharpe), gives birth to a black baby in the rural deep south. What could easily descend into a hillbilly soap opera is heightened by a strong theme on the way seemingly decent people handle race. Performances run strong in 'Byhalia, Mississippi' in particular Celeste Wingate as Laurel's mother and Kiki Layne as her childhood best friend. It has a sharp sense of humor when it needs to, but also enough structure in place to carry its complex ideas. 

 

This new play by New Colony artistic director Evan Linder has some serious legs. After a sold-out run at The Den, 'Byhalia, Mississippi' is now being put up at one of Chicago's most esteemed and visible houses. It will certainly be noticed. While a certain degree of cheekiness runs throughout, the playwright is careful not to make his characters cartoonish. There are a few juvenile moments that tend to stick out like a sore thumb, but in time, some of that roughness will surely be smoothed out. This is not a play about infidelity. This is a play about the way people in some parts of America handle race and gender. To that end, this play couldn’t be more relevant. It wouldn’t be a surprise to see 'Byhalia, Mississippi' mounted in New York some time soon. 

 

Through August 21st at Steppenwolf Theater, 1650 N Halsted St. 312-335-1650

 

It’s not often a theatre company tackles two Pulitzer Prize winning plays in one season, but Steppenwolf is doing just that. While you may grow a long white beard waiting to see the 2016 winner, "Hamilton," Steppenwolf has 2014 and 2015 covered with "The Flick" and "Between Riverside and Crazy." Playwright Stephen Adly Guirgis' work was last seen at the Steppenwolf in 2012 with "The Motherf@cker with the Hat." He won the 2015 Pulitzer for "Between Riverside and Crazy." 

 

"Between Riverside and Crazy" is largely similar to "The Motherf@cker with the Hat," in that it deals with issues of addiction and inequality. "Riverside" tells the story of Walter (Eamonn Walker) who's a retired cop with one of the last rent controlled apartments in a nice part of Manhattan. The catch is that he's hopelessly waiting for a settlement from the city because he was shot by another officer. Walter, or Pops, as he's called has a habit of taking in degenerates and trying to nurse them back to health. He forgives people of their sins and keeps company with thieves and whores, sound familiar? 

 

Guirgis' play couldn't come about at a more topical time. Though, when thinking of an ethics tale about a police shooting, most would have a different notion of how the author would address issues of race. Guirgis is unflinchingly realistic, with the point being that nobody is perfect. The space between right and wrong seems to be too narrow for this play, as are most instances in life. What he does well is set characters up to appear one way, only to cynically devolve into what we're conditioned to assume. 

 

Eamonn Walker impeccably leads this top-notch cast. He's able to embody the grizzled, but lovable character in such a natural way you'd think you've known him forever. Audrey Francis also stands out in her performance as Walter's former beat partner. She plays an unlikeable character with such sincerity that you almost forget she's not really on Walter's side. Lily Mojekwu is one of the show's best hidden gems. Her character, Church Lady, doesn’t enter until well into the second act, but her narrative propels the story to its conclusion. She's another character you want to trust, but if you've been in the real world long enough, you know better. 

 

Yasen Peyankov's production of "Between Riverside and Crazy" is a slow building, but highly rewarding theatre experience on the same level as "Clybourn Park." Good for the Steppenwolf for forcing unpleasant issues in the face of middle class audiences. While some may leave the theater feeling as if their world views are affirmed, others will leave questioning their own morals. 

 

Through August 21st at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650

 

"It's a wicked book," Steinbeck once said of his Pulitzer Prize winning novel "The Grapes of Wrath". The seminole book about the Great Depression appeared in early 1939, just as the U.S. was clawing its way out of the trenches of poverty and into the boon of WWII. It tells the story of the Joads, an average American family pushed off their land, who seek migrant labor in the mythical Eden of California. 

 

In 1988, a still fledgling Steppenwolf Theatre Company adapted the epic novel for the stage. The play was a huge hit and soon transferred to Broadway where it went on to win the Tony award for Best Play. The adapter, Frank Galati has since adapted a few other novels for Steppenwolf, including "East of Eden" in 2015. 

 

Under the direction of Erica Weiss, The Gift Theatre revives this now classic play. Weiss' production is about big choices. Color-blind casting of the play's lead, Tom Joad, makes for dynamic monologues that dig a little deeper than perhaps what even Steinbeck had in mind. Other choices, like adding in a homoerotic plotline, seem a bit more random.

 

That said, performances among this giant cast are strong. When fully assembled, there are about as many people on stage as in the audience. In the role of disgraced Reverend Jim Casy is Jerre Dye. His performance as a man struggling with faith in godless times is one of the show's greatest revelations. Other standout performances include Kona N. Burks as Ma Joad and Alexandra Main portraying a sundry of characters.  

 

"The Grapes of Wrath" is one of those stories that's just downright unpleasant. The novel is structured in a way that sheds light on the Great Depression in a general sense and then doubles back to show the Joad's individual struggle. You find yourself hoping that this family will avoid the pitfalls set before them. You almost wish nothing good would ever happen to the Joads because a few scenes later, it'll be ripped away from them. It remains relevant some 75 years later because what Steinbeck (and Galati) are presenting is a damning indictment of American ideals that have yet to change. 

 

Through August 14th at The Gift Theatre. 4802 N Milwaukee Ave. 773-283-7071

 

Wednesday, 08 June 2016 14:09

Review: Xanadu at American Theater Company

Last year the Chicago theatre community lost a major piece of its landscape. Longtime American Theater Company artistic director PJ Paparelli died abruptly before solidifying the company's thirty-first season. It's almost ironic that a man responsible for bringing so many uncomfortably topical dramas to the Chicago stage had such a soft spot for "Xanadu." As a tribute to the late Paparelli, ATC concludes their thirty-first season with this campy roller disco musical. 

 

For most, "Xanadu" is among the worst movies ever made. In 1980, still riding high on her "Grease" fame, Olivia Newton John was cast as Zeus' favorite muse sent to Venice Beach, California to help struggling street artist Sonny Malone achieve his destiny of opening a roller disco. The film also featured an aged Gene Kelly. Though the movie was an overwhelming flop, the soundtrack by Electric Light Orchestra and John Fahrer was a huge hit. 

 

In 2008, Broadway producers decided to satirize the now cult classic as a stage musical. Initial reviews were favorable and it even had a short engagement in Chicago. Unfortunately, due to the recession, "Xanadu" didn't last long, but is now enjoying great popularity in regional theaters. 

 

Somehow American Theater Company and director Lili-Anne Brown are able to make their "Xanadu" more significant than what's at the surface. There's no shortage of comedic gold in this cast of young faces, but what lingers are the incredible group numbers that fill the intimate garage space. This "Xanadu" has so much life that you can almost forget the source material. In the lead role of Clio, or Kira, is Landree Fleming who takes this role in a sketch comedy direction that turns out to be ripe with goofy humor. Jim DeSelm co-stars as Sonny Malone and is not only nice to look at, but he can really belt. 

 

Lili-Anne Brown's ensemble of sister muses fills out this energetic cast and each provide stand-out performances, even if their character names and motives are somewhat arbitrary. The cast looks like they're having a lot of fun together and it's contagious throughout the 90-minute run-time. Even the band, which in some musicals can seem disconnected, are joining in the fun. "Xanadu" at American Theater Company is a high-octane good time and a really fitting tribute to one of Chicago's most groundbreaking theatre artists. 

 

Through July 17th at American Theater Company. 1909 W Byron Street. 773-409-4125.

 

 

Prepare to be taken on a journey with Timeline Theatre at their production of "Chimerica." Directed by Nick Bowling, "Chimerica" is an epic saga of a play by British playwright Lucy Kirkwood. While a solid three hours of theater may be discouraging for some, this play makes it well worth the time. 

 

Spoiler alert, "Chimerica" is a story about Chinese-American relations, not Chicago. That said, John Culbert's stage design addresses it pretty head-on. One side of the stage is an ironically vintage New York City apartment, a wide gulf separates it from a shabby Beijing tenement. A Macbook sits on the coffee table of the American apartment, a well-known symbol of strife between these two worlds. 

 

Lucy Kirkwood's play makes its American debut at Timeline. It is the story of a photo journalist, Joe Schofield, who took the famous picture of a man standing in front of a tank during the Tiananmen Square Massacre in 1989. We catch up with Schofield (Coburn Goss) in 2012 as he tries to persuade his magazine editor to do a story about the Tank Man 23 years later. Joe's kept a long-time friendship with a professor in Beijing, Zhang (Norman Yap), who is the story's window into Chinese life. Joe falls in love with largely uninvolved marketing expert, Tessa (Eleni Pappageorge) who's on a mission to "figure out" the Chinese for a credit card company. Joe becomes determined to track down the man he accidentally made famous, and in the process, a global chase ensues. 

 

There are a ton of characters in this play. Some more consequential than others. Nick Bowling has assembled a very talented cast of Asian-American actors on which the moral backbone of this story hinges. In fact, there's not a bad performance in this play. 

 

One could dissect the themes of this show for hours, but for the sake of brevity, we won't. What is immediately fascinating is that this is a story told from the mindset of someone caught in the middle. It's a story about how America and China are becoming more alike as well as their inherent differences. It’s a story about what is actually dictating "free press" in America. It’s a story about how foreign countries see American politics, particularly Hillary Clinton. It's also a story with great heart. Lucy Kirkwood is not just delivering a geo-political thesis, but also a compassionate look at the lives of ordinary people. At times this very-right-now drama can seem to go on and on, but in the end it adds up to a very bittersweet conclusion and a lot to take home and unpack. 

 

Through July 31st at Timeline Theatre. 615 W Wellington Ave. 773-281-8463.

 

 

Once in awhile a musical comes around so weird that you have to see it to understand it. Based on a 1960 b-movie of the same name, "Little Shop or Horrors" tells the story of a man-eating plant raised by a nerdy guy working in a flower shop. Legendary composers Alan Menken and Howard Ashman collaborated on a musical version of it as a tribute to 60s rock 'n roll and drive-in movies. It started as an Off-Off Broadway show in 1982 and then transitioned to the Off-Broadway Orpheum Theatre, where it ran for five years.  The film version followed in 1986 and is considered one of the best movie musicals ever made.

 

It's no surprise American Blues Theater had to extend their production by popular demand. Jonathan Berry directs an excellent "Little Shop of Horrors" for American Blues Theater with musical direction by Austin Cook. From the get-go, audiences will find themselves caught in the tentacles of this plant tale. Real-life married couple Michael Mahler and Dara Cameron play Seymour and Audrey. Both have incredible voices and make these characters their own. The result is very charming. The stoop urchins: Chiffon, Ronette and Crystal (aptly named after the girl groups they sing in the style of) are so good they may even outshine the plant. Camille Robinson, Jasondra Johnson and Eunice Woods crush their roles as the doo-wop Greek chorus. It seems like these three fantastic voices are having a blast working together. That said, the voice of the man-eating plant, Audrey II, provided by Lorenzo Rush Jr is really powerful, with a contagious evil laugh.

 

Despite the strong talent on the stage and in the pit, this "Little Shop of Horrors" further succeeds in its well designed set by Grant Sabin. This show requires a good puppet master. Sarah E Ross' Audrey II puppets are awesome. The puppet creates some of the best laughs of the evening, especially in the finale.

 

Like "Rocky Horror", and "Grease" - the music of "Little Shop of Horrors" makes you feel good. The team behind this musical was also responsible for Disney's string of critically acclaimed animated musicals like "The Little Mermaid" and "Beauty and the Beast."  "Little Shop of Horrors" at America Blues Theater is a show you'd have to be a mean, green, mother not to enjoy. (John Accrocco)

 

Through June 26th at The Greenhouse Theatre. 2257 N Lincoln Ave. 773-404-7336

Police brutality is nothing new. Having it broadcast on national news sources, however, is. The deep South in the 1960's wasn't a fun place to be if you were anything but a Christian Caucasian. Shattered Globe Theatre concludes its twenty-fifth season with Matt Pelfrey's adaptation of John Ball's best-selling novel "In the Heat of the Night." The film adaptation starring Sidney Poitier went on to win the Academy Award for Best Picture. 

 

Pelfrey's script keeps with the original time and setting, but adapts with a degree of hindsight. He's also good at keeping the pot boiling until the final conclusion, even if the dots don't exactly connect in the end. With the success of TV series like "Making a Murderer" and the podcast "Serial" - audiences can't get enough crime thrillers. What these all seem to have in common are police inadequacy. A disappointing trend among rural police forces. "In the Heat of the Night" tells the story of a small town reeling after a local real estate tycoon is murdered. The prejudiced, and largely incompetent law enforcement can't seem to find a suspect. After they accidentally profile an African American from out of town, they get help from an unlikely source. 

 

Louis Contey directs a large, and talented ensemble cast. Unfortunately the script is a bit clunky in parts. Too many entrances, exits and costume changes make for a puzzling caper. There's fun in the noir-esque stylings of Contey's vision, but it conflicts with the bigger themes this source material addressed. Character development suffers and the message of Ball's original novel gets a little muddled in empty one-liners and racial slurs. There's a major opportunity here to make biased police officers more three dimensional and Drew Schad as Sam Wood does his best to navigate the dialogue. Joseph Wiens' performance as Chief Gillespie is intense, but at times cartoonish. Christina Gorman as the victim's daughter is a high point, however brief. 

 

"In the Heat of the Night" is a sultry, and somewhat topical thriller. Its brevity and mathematical approach make for a satisfying murder mystery. What it occasionally lacks in substance it makes up for in exciting stage combat. An atmospheric who-dunnit, akin to "Twin Peaks." 

 

Through June 5th at Theatre Wit. 1229 W Belmont Ave. 773-975-8150.

 

Page 3 of 6

 

 

10 Years! Fave Issue Covers

Register

Latest Articles