Upcoming Dance

Ken Payne

Ken Payne

Ever wonder what happens behind the scenes leading up to opening night at the theater? Do you have any idea how much detail goes into a stage production? Can you imagine the funny moments that could take place while building a set or rehearsing lines? Do directors really get as frustrated as we hear? 

Theater Wit brings to the stage the latest, and possibly most innovated, work by author Anne Washburn 10 Out of 12. A headset rests on each seat in the theater for audience members to wear as they become engulfed the midst of tech rehearsals just one week prior to a production opening. We hear random chatter and instruction from the stage crew as 10 Out of 12 gives us an in-depth view of the goings on behind the scenes of mounting a show. Burns, known most recently as the playwright behind Mr. Burns, A Post Electric Play that found a successful run at Theater Wit in 2014, delves into the high stress that comes with detailing theater specifics such as lighting, cues and prop placement while also touching on actor stereotypes, tantrums and the desire in some to hold their work to a standard that demands integrity.

“No one in Chicago has ever seen anything like 10 Out of 12. Simultaneously exacting real-to-life and riotously funny, Anne Washburn’s detonation of a single technical rehearsal is promising to be a unique and thrilling viewing experience,” said Jeremy Wechsler, Artistic Director of Theater Wit and director of 10 Out of 12.

We watch as the production team fastens bolts to secure the set, samples the lighting and sound from scene to scene, place each mark to the director’s satisfaction and amuse themselves during down time. We see actors rehearsing their lines, suggesting where changes might be made (usually to the director’s chagrin). In our headsets we get a real feel for the high levels of demand that must be met along within a time crunch that increases by the minute. We also hear stage hands discussing their lunch and such, along with occasional side remarks about what is transpiring on the set. The fourth wall is often broken with actors using the aisles and theater as though an audience were not present, the director and actors often taking a seat amongst us to watch their handiwork from a patron vantage point. 

The production as a whole is a truly inimitable experience and provides an insight to theater that most may not be familiar with, adding a new appreciation for the art. Upon leaving the theater many discuss how they’ve had no idea the work and precision involved in mounting a play, making 10 Out of 12 an informative piece – perhaps also an homage to those behind the scenes.

Star Chicago theater personalities are recruited to provide pre-recorded roles such as John Mahoney, Martha Lavey, Barbara Robertson and Jeremy Wechsler, Mahoney delivering some of the play’s funniest lines. The stage cast also packs a punch with Erin Long, Adam Shalzi, Dado, and Riley McGliveen as the production team, Shane Kenyon as The Director, and Eunice Woods, Gregory Fenner, Christine Vrem-Ydstie, Kyle Gibson and Stephen Walker as the actors. Walker, taking advantage of several moments to shine in only the way he can in delivering highly-charged monologues with just the right amount of entitlement and sardonic flair as the veteran actor brought in to bring credence to the production. Walker’s character questions the truthfulness in his character, conflicted by his passion for honest art, which he feels is losing its grip in modern day theater.  

So what does the title 10 Out of 12 mean? A 10 out of 12 is a day in which, per the rules of Actors Equity, the actors are contracted to work for 12 hours with one 2-hour dinner break. It’s during that time that all the designing elements of the production are united as a whole, as costumes, sound, lighting, projections, set and acting are fine-tuned just prior to a show’s opening. 

When asked why she wrote a play about a tech rehearsal, Washburn descriptively states, “A decade ago most theaters didn’t have Wi-Fi…and no one is more useless in tech than the playwright. So, I began taking notes. I was fascinated by the strange surreal interplay of light and music. I loved the mysterious technical languages being used around me, the rhythmic drone of the calling light and sound cues. I liked watching the actors freed from their normal self-consciousness. I liked the low continual volume of play which bubbled up throughout the tech as a desperate counterpoint to the long periods of tedium and waiting. And the endless snacking, and discussion of snacking.”  

Throughout the production we hear small talk between the techs – everyday musings that are often quite humorous. We also hear the actors talking hopefully about getting their big break, but also turning down roles for the sake of integrity. At one point the leading actress asks the stage manager if she can leave early to audition for a role in a pilot. We have entered the world of theater. 

As much as this often funny and revealing play is a fantastic chance to catch the inner-workings of theater production, it misses a few opportunities that were begging for the injection of timely humor, at points drifting away only to grab the audience again just in time. It would also have been nice if the script called for a larger role from Mahoney, whose well-timed remarks were almost always met with crowd laughter. Notable was the play’s pace, perhaps running about thirty minutes too long (two and a half hours plus intermission), making the thought of a slightly condensed version somewhat appetizing. Washburn's story nicely envelopes the stresses, complications and rewards in theater production. 

Still, there is much to like in 10 Out of 12, the good outweighing the bad by significant measure. One should expect a fun lesson in Theater Production 101 that is coupled with fine acting performances and enough humor that insures an overall pleasant experience. The headsets are a nice touch, giving audience members an opportunity to feel at times as though they were part of the production team.  

10 Out of 12 is being performed at Theater Wit through April 23rd. For tickets and/or more show information click here

 

 

 

Just after the show’s beginning, Jackie Taylor asks the crowd what the world needs. In unison, many voices shout back, “Love!”. And when do we need it? “Now!” Love is the theme in Black Ensemble’s latest production, From Jackie with Love (What the World Needs Now), a three-day engagement that centers around loving one another and putting away with senseless violence and racism. Wasting no time getting to the point, Taylor begins the program with an inspired version of the self-explanatory titled “No Matter What Race”, a song that sets the tone for what is to follow. 

For those unfamiliar with Jackie Taylor and her contributions to the Chicago Theatre community, she is the Founder and Executive Director of the Black Ensemble Theater, producing, writing and directing in nearly all its presentations. Prior to her work with Black Ensemble, Taylor, a theatre grad from Loyola University, made her mark on the Chicago stage where she performed at many venues including The Goodman Theater and Victory Gardens Theater. The talented actress also made her presence known in film and television as she was featured in 1976’s Cooley High and later appeared in Barber Shop II, Losing Isiah, Chiraq, Early Edition and The Father Clements Story among several others. 

From Jackie with Love is a production from the heart. Backed up by Black Ensemble’s accomplished band featuring Musical Director Robert Reddrick on drums, Taylors swoops into a collection of songs that are sure to pull the heartstrings of most, each written by hers truly. Throughout the show, Taylor breaks from music giving the audience a peek at her personal life be it by short stories or in the performance of monologues that were meaningful to her from such as A Raisin in the Sun, a play she declares as her “favorite of all time” written by Lorraine Hansberry.

Taylor reminisces about her time as a teacher in the Chicago Public School system, her childhood while living in Cabrini Green and growing up thinking her mother did not love her. She talks passionately about her persistence in moving forward with Black Ensemble even when its outcome seemed bleakest. 

“I am fortunate enough to have spent my life teaching in Chicago Public Schools, at colleges like Loyola University and Roosevelt University and in numerous, numerous programs as an artist teacher,” says Taylor. “Along the way, I created Black Ensemble Theater, raised a wonderfully intelligent daughter and now have the best grandson in the whole wide world.”

Taylor is accompanied on stage by Black Ensemble veterans Rhonda Preston, David Simmons and Yahdinah Udeen who serve as back up vocalists for Taylor and offer friendly banter back and forth. Each is showcased in their own featured number, Preston stunning the crowd with a vocal demonstration for the books in “A Mother’s Love” and Udeen performing an emotionally-charged rendition of “Mother’s Lament”, a moving song that Taylor could write a play about on its own. Simmons closes the second of three sets with the lively number “Happy Ending”. Each are again brought to the forefront towards the end of the show in a piece that has each one, including Taylor, breaking out dance moves.  

All songs performed in From Jackie with Love are written by Jackie Taylor, a couple borrowed from past Black Ensemble productions. As Simmons states about the production, “The show is called From Jackie with Love because it really is from Jackie – all of it – and with tons of love.”

It’s easy to see Taylor’s high level of comfort on stage whether it be singing, dancing, acting, interacting with the audience or even playing guitar – the same one her mother bought for her as a child. The stage is her playground, but more so a tool to bring people together. 

“Through the hundreds of plays that I have produced, written and directed – I never lost my passion for performing,” says Taylor on taking the stage once again. It’s clear the passion is still there along with the talent as she still performs with command.

From Jackie with Love is a nice way to meet the woman behind Black Ensemble, bringing with it a positive message in that life is too short to waste time hating when we can be loving each other. It’s a simple message but powerful as she eludes to the root of the issue being that of money and greed also recognizing the steps that are taken to program our children towards violence at such a young age. A warm tribute is made to the many young black men who have lost their lives – just for being black. Taylor’s message is delivered ever so profoundly in this production that is also sure to entertain with its vast variety of touching songs.

From Jackie with Love (What the World Needs Now) is being performed at The Black Ensemble Theater only for a limited time. For tickets and schedule information click here.

 

 

Flanagan is dead. Crushed by luggage, the resident roustabout has left us too early. Leaving a healthy amount of family and friends behind, we gather at a local pub in Grapplin, County Sligo, Ireland to celebrate the life of our dear Flanagan. A large, wooden crate holding the body of the recently deceased is perched in the center of the room with the words “This Side Up” printed largely on its side, the arrow facing down. Fiona Finn is in attendance, Flanagan’s fiancée of twenty-two years, along with his closest friend and fellow drinking partner Brian Ballybunion, Father Damon Fitzgerald, Mayor O’Doul, who also serves as the pub’s bartender, Mother Flanagan and a host of other assorted characters. It is time to pay our respects, share memories, enjoy a pint – and laugh. 

Flanagan’s Wake is a long-running interactive comedy that turns the audience into guests that participate in the mourning, and revering, of the departed Flanagan. Wake attendees are seated at tables throughout the venue where cast members dole out name tags that add “Patrick” after the names of men and “Mary” to those of the women. In my case, I became “Ken Patrick”. After a heartfelt, and vey humorous greeting by Father Damon Fitzgerald, Fiona Finn, appropriately dressed in a black dress, makes her way to the “casket” to say a few words. As she approaches the raised platform she thanks a guest (an audience member) for “wearing their fancy denim” to her loved one’s wake. 

Thick, often hilariously exaggerated, accents are used throughout the night as the cast pokes fun at one Irish stereotype after another. Father Damon Fitzgerald often recites from The Bible’s Book of Kevin, a book he insists was excluded (thanks to a conspiracy in the church) as were the books Jerry and Jared. “Death is a poor man’s doctor,” he would also preach. 

In helping to create Flanagan’s backstory, the cast seeks help from show goers asking questions like, “What was your favorite memory with Flanagan?” Or, “How did you know Flanagan?” No two shows will be alike as the cast improvises from audience response piecing together a wild series of new memories, mishaps and events during each performance. In fact, the audience greatly steers the direction of the story. As funny as the interplay between the characters is with each other, the same can be said for its interaction with the audience. We are spoken to as if Flanagan was a close loved one. At one point a table of guests are asked to come forward to do that cherished Irish dance that Flanagan loved so much. “You guys are terrible,” says Father Fitzgerald. “What happened? You were so good before.” 

The interactive play runs smoothly and literally churns out a laugh a minute thanks to some veteran involvement.

“We’re thrilled to have Jack Bronis, original Director, and Bonnie Shadrake, original Music Director, onboard,” says producer Bill Collins. “Their return ensures the production will have all the fun and humor that made it a huge hit in Chicago.” 

Cast members are in character from the moment one walks into the banquet hall-like room and make the entire area their stage for the duration of the show – even the washrooms.

The wonderfully selected and seriously funny cast stars Steve Peebles as Father Damon Fitzgerald (who you might remember for his stellar performance in last summer's First Folio production of A Midsummer Night's Dream), Greg Dodds as Mayor O'Doul, Chase Wheaton-Werle as Brian Ballybunion, Luciana Bonifazi as Fiona Finn, Susan Wingerter as Kathleen, Alex DiVirgilio as Mickey and Derek Brummet as Mother Flanagan. It is this lively cast of skilled improv artists that so well bring back to life (or death) this classic interactive play that has been a smash hit in Chicago since 1994.

Flanagan’s Wake has taken a new home at Chicago Theater Works near Belmont and Sheffield, running in tandem with the ever-popular Tony n’ Tina’s Wedding. Its run is open-ended though performances vary due to its shared space. A full bar is available throughout the show for beverage purchases and tickets range from a highly reasonable $29-$34. To find out more about this very funny and genuinely rich experience, check its show schedule or to purchase tickets, click here.  

Who ever thought a wake could be so much fun? 

 

Lifeline Theatre is currently bringing to life the 1963 Madeline L’Engle award-winning, sci-fi novel for young adults, A Wrinkle in Time. It is the first in a series of five books that follow the escapades of Meg Murray, a thirteen-year-old student whom her teachers see as stubborn and difficult. The story follows Meg’s adventure as she and her younger brother, Charles Wallace (a prodigy child genius), search through space and time for their missing scientist father who has vanished after working on a mysterious project called a tesseract. It is during this pursuit that Meg and Charles Wallace, along with along with school friend, Calvin O’Keefe, run into a myriad of characters that get stranger and stranger along the way. 

Before long they find out their true enemy is a bodiless brain called IT, who controls the planet Camazotz and communicates through The Man with Red Eyes. IT’s mission is to robotize everyone by removing their free will. At the same time, another evil force lurks throughout the universe that is only known as The Black Thing. A tall order for the trio of children to conquer on their own, help comes to them in the form of the three Mrs. W’s – Mrs. Whatsit, Mrs. Who and Mrs. Which – each of whom offers a special power, or insight, in their fight to save their father. It is an exploit where the impossible becomes possible and courage and love proves to be the strongest force of all.

Lifeline brought this classic story to the stage first in 1990 based on the adaptation of James Sie. It returned in 1998 and is back today, nineteen years later. Probably not the easiest story to adapt for the stage, Lifeline does a remarkable job in creating a futuristic world full of color and space age lighting as they do in creatively staging special effects such as flying through time. The set is skillfully designed to give us the appearance of being lost in the dark vastness when needed, or to find ourselves light years away on a strange planet in a strange universe. Finely-crafted original costumes and hi-tech sound effects sprinkle the final touches in fashioning this ultramodern world we are thrust into for two hours. 

Meg Murray needs an exterior that is defiant and bold, though underneath she is smart, confident and caring. Jamie Cahill is able to capture these qualities to give us a believable Meg, for without the play does not work. Cahill is bratty when called for, rebelliously shouting to get her way, she is appropriately emotional as she longs for her father and she is convincing as a teen who would be curious and astonished as a journey such as hers unfolds. 

Trent Davis took on the role of Charles Wallace for the play’s opener, taking turns during its run with Davu Smith also cast for the role. Davis exhibits some mature acting chops for such a young man, impressing the audience with his fitting facial expressions, natural line delivery and comic timing. Rounding out the well-cast triad of adventurous kids is Glenn Obrero as Calvin O’Keefe, who is fun to watch as the eldest of the three, kind of taking on a big brother role. 

Though his role wasn’t as expanded as many others in this production, Michael McKeogh still leaves an impression as Meg and Charles Wallace’s father, persuasively revealing the father-like qualities any kid would want to have in their own parents. Each of the three Mrs. W’s adds their own spark whether by oddities in their own character or in humorous musings with each other or the children - Mrs. Whatsit (Madeline Pell), Mrs. Who (Javier Ferreira) and Mrs. Which (Carmen Molina). Slightly changing from the novel, The Man with Red Eyes becomes known simply as Red Eyes, and is fiercely played by Naima Hebrail who towers over the stage and crowd with her commanding voice and tremendous presence. 

If unfamiliar with Madeline L’Engle’s novel, the stage version is easy enough to follow and enjoy as a new adventure. However, this production might be a bit more special for those who have read the book as we get to see an imaginative recreation of a story many of us have held so close to our hearts as young readers opened up to a new world.

Family-friendly and keenly directed by Elise Kauzlaric, A Wrinkle in Time is a true time traveling quest for some of us to fondly reminisce and for some of us to experience its magic for the first time. A Wrinkle in Time is being performed at Lifeline Theatre through April 9th. For more show information, click here.    

*Extended through April 23rd       

  

 

For those looking for about as much funny as can be compacted into sixty minutes, one would be hard pressed to find as many laughs as The Best of Bri-Ko, a sidesplitting theatre experience where the absurd is creatively implemented into a series of sketch acts, each one stranger than the next. 

Stage 773 Creative Director Brian Posen teams up with Chicago comedic forces Tim Soszko and Brian Peterlin to form this hilarious hour-long ride where just a single word is spoken throughout the entire performance. The three theatre veterans are able to inject their unique humorous spin into such simple everyday tasks from changing a light bulb to a having a dinner date that have the audience in stitches from the moment they take the stage to the show’s very climactic ending. A series of props are used in practically every sketch performed including water balloons, heads of lettuce, cream pies and other very messy items, making it as though a tornado had swept through the venue by the show’s end. Caution – you might become a victim of friendly fire.

Varying from one extreme to the other, a heavy-duty Nerf gun war breaks out throughout the crowd to Slayer’s “Angel of Death” while moments later we become subject to a hysterical dance routine to Wilson Phillip’s “Hold On” that you must see to fully appreciate. Adding to the intimate, and very unusual, theatre experience is the fact that the production is performed in Stage 773’s Cab Theatre, a smaller-sized room so as to easily involve the entire audience. 

"With so much buzz today about what's appropriate in comedy, Bri-Ko is a breath of fresh air," says Stage 773 Creative Director Brian Posen. "This is a hilariously entertaining show without the politics or controversies you typically see with this genre."

Poesen couldn’t be more correct. If you were to throw bits and pieces into a blender from Blue Man Group, The Marx Brothers and various vaudevillian acts, inject it with steroids, then douse it with Posen, Soszko and Peterlin’s own exclusive brand of humor, you’d have Bri-Ko – a true one-of-a-kind comedy event that goes from 0-60mph in seconds flat. 

Posen, Soszko and Peterlin work incredibly well together, exhibiting not only a well-oiled team chemistry but each having plenty of their own moments mainly done with key facial expressions and challenging physical comedy. No question about it, Bri-Ko is a power-packed hour of pure fun that can be enjoyed over and over again. 

There is no shortage of stage experience in this very exceptional cast. Jeff and After Dark Award Winner Brian Posen has been active in the Chicago theater scene for over 20 years as an actor, producer, director, and teacher. Posen and Peterlin have worked together for years, in 2001, alongside Brian Posen, founding The Chicago Sketch Comedy Festival, now the largest in the nation. Tim Soszko teaches at Second City, Barrel of Monkeys and Columbia College while performing with many companies including Bri-Ko, The Cupid Players and The Tim and Micah Project.

The Best of Bri-Ko is being performed at Stage 773 in the Cab Theatre each Thursday through March 23rd before reworking material and returning this Fall. 

Very, very recommended.

For tickets and/or more show information click here.

 

Wednesday, 22 February 2017 13:13

Writers Theatre Announces 2017-18 Season

Writers Theatre Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma announce the company’s 2017-2018 six-show season, opening with the World Premiere of Trevor the musical in the Alexandra C. and John D. Nichols Theatre. The production will be directed by Marc Bruni (Beautiful: The Carole King Musical on Broadway), with book and lyrics by Dan Collins, music by Julianne Wick Davis, music direction by Alexander Rovang and choreography by Josh Prince, by special arrangement with U Rock Theatricals. The season will continue with Oscar Wilde’s clever comedy of manners The Importance of Being Earnest directed by Michael Halberstam; Eugene O’Neill’s masterpiece A Moon for the Misbegotten directed by William Brown; and Sam Shepard’s Pulitzer Prize-winning Buried Child, directed by Kimberly Senior in the Alexandra C. and John D. Nichols Theatre, with a production yet to be announced opening the season in the Gillian Theatre, followed by the Chicago Premiere of Lydia Diamond’s Smart People, directed by Hallie Gordon.

 

The 2017-2018 Season marks Writers Theatre’s second full season in the company’s award-winning new home at 325 Tudor Court in Glencoe, designed by Studio Gang Architects. Productions will be presented in two spaces in the theater complex including the 255-seat Alexandra C. and John D. Nichols Theatre as well as the Gillian Theatre, a 50 to 99-seat flexible theatre space.

 

From its very first year, Writers Theatre has brought quality and excellence to the stage while maintaining the company’s hallmark intimacy. The last 25 years have seen unprecedented growth in both the artistic and business arenas as the company has garnered national acclaim and recognition, marked by the celebrated opening of the Theatre’s new facility in February of 2016. With a longstanding reputation for consistent artistic excellence and with strong ties to the community, Writers Theatre has built an award-winning repertoire and serves as a vital and highly regarded company in the Chicagoland theatre community.

 

“This is a particularly ambitious season for us,” says Artistic Director Michael Halberstam. “We are starting to really stretch things in our new home! We are particularly delighted to be in collaboration with such a wonderful array of directors, actors and playwrights. Of particular note, this season marks our first collaboration with a team of New York producers in presenting a powerful world premiere musical, which will launch what is a classic Writers Theatre season. We have our trademark mix of classic revivals and new plays presented with fresh perspective in our two intimate venues. When we set about to build a new home, we wanted to create a theatre that would allow us to continue to pursue our mission, but with much greater sophistication.  This season takes advantage of our new facility by honoring our past while very much looking forward to our future. Stand by for additional news to come! There is one more exhilarating production still to announce!”

 

Season Packages are available at the Box Office, 325 Tudor Court, Glencoe, 847-242-6000 and www.writerstheatre.org.

 

Writers Theatre is pleased to welcome back BMO Harris Bank as the distinguished 2017/18 Season Sponsor, marking the Bank’s seventh consecutive year as season sponsor.

 

 

The Writers Theatre 2017-2018 Season includes:

 

World Premiere

TREVOR THE MUSICAL

Book and Lyrics by Dan Collins

Music by Julianne Wick Davis

Based on the Academy Award-winning film Trevor

Choreography by Josh Prince

Music Direction by Alexander Rovang

Directed by Marc Bruni

August 9 – September 17, 2017

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

Meet Trevor, a 13-year-old boy in 1981 whose vibrant imagination drives a turbulent journey of self-discovery. As he deals with adolescence and all that goes with it, Trevor begins to explore what it means to be himself, influenced by his friends, parents . . . and Diana Ross. 

 

Based on the story that inspired the Oscar-winning film, the charity and the national movement, TREVOR the musical is a coming-of-age story about identity, emerging sexuality and the struggles of growing up in a world that may not be ready for you.  This world premiere musical is directed by Marc Bruni, who helmed the Tony Award-winning production of Beautiful: The Carole King Musical on Broadway.

 

The Trevor Project was created as a result of the Academy Award-winning film that also inspired TREVOR the musical. The Trevor Project is the nation’s only accredited crisis intervention and suicide prevention organization focused on saving young LGBTQ lives. www.TheTrevorProject.org 

 

 

TO BE ANNOUNCED

September 27 – December 17, 2017

The Gillian Theatre | 325 Tudor Court, Glencoe

 

We’re still finalizing details for the first production in the Gillian Theatre next season, and aren’t quite ready to make the project public yet. However, we can tell you that it fits the Writers Theatre style—intimate, engaging and full of captivating performances by top-flight talent.

 

 

THE IMPORTANCE OF BEING EARNEST

Written by Oscar Wilde

Directed by Artistic Director Michael Halberstam

November 8 – December 23, 2017

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

One of the cleverest comedies by one of the greatest writers in the English language, THE IMPORTANCE OF BEING EARNEST introduces us to Jack and Algernon, two charming bachelors who are each living a double life, aided by a fictional alter ego called “Ernest.” But when they fall truly in love with a pair of proper young women, will they be able to bring an end to the charade and convince the formidable Lady Bracknell that they are suitable candidates for marriage? After all, “the one charm about marriage is that it makes a life of deception absolutely necessary for both parties.”

 

Artistic Director Michael Halberstam brings his talent for refreshing the classics to this effervescent comedy of manners. Filled with Wilde’s sparkling wit, piercing social satire and trademark wordplay, this well-loved classic is certain to delight this holiday season!

 

 

A MOON FOR THE MISBEGOTTEN

Written by Eugene O’Neill

Directed by William Brown

February 7 – March 18, 2018

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

In 1920s rural Connecticut, Phil Hogan cobbles together a living on rented farmland that he hopes to someday own outright, when his landlord Jim Tyrone comes into his inheritance. Hogan has driven away his three sons, but his towering daughter Josie understands her father and can hold her own. When the two learn that the land may be sold out from under them, they concoct a plan to save it that ultimately reveals the secret desires that two lonely souls have kept hidden for years.

 

This bittersweet elegy from four-time Pulitzer Prize-winning playwright and Nobel laureateEugene O’Neill offers a moving and powerful exploration of humanity at its basest and most beautiful.  Directed by WT Resident Director William Brown (Company, Doubt: A Parable, The Liar, A Little Night Music and many more), this soaring powerhouse of a play is simultaneously intimate and epic, touching on themes of desire, family and the things we sacrifice for those we love.

 

 

SMART PEOPLE

Written by Lydia Diamond

Directed by Hallie Gordon

March 21 – June 10, 2018

The Gillian Theatre | 325 Tudor Court, Glencoe

 

Four intelligent, attractive and opinionated young urban professionals—a doctor, an actress, a psychologist, and a neurobiologist studying the human brain’s response to race—search for love, success, and identity while also attempting to navigate the intricacies of racial and sexual politics. This whip-smart new play taps into current cultural conversation in an enthralling and provocative way, taking on deep questions of the nature of prejudice with razor sharp wit.

 

Staged in our intimate Gillian Theatre, this sexy, serious and fiercely funny new play explores the inescapable nature of racism and other tricky topics with rapid fire dialogue, shattering assumptions about our culture’s ingrained attitudes of racism, sexism and classism. You’re sure to be captivated by one of the smartest new plays of its time!

 

 

 

BURIED CHILD

Written by Sam Shephard

Directed by Kimberly Senior

May 9 – June 17, 2018 

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

On a cross-country trip from New York to the west coast, Vince and his girlfriend Shelly decide to make a stop at his grandparents’ rural Illinois home. But when they arrive, neither his grandparents, Dodge and Halie, nor his father Tilden and uncle Bradley seem to recognize or remember him. As Vince searches for answers, truths begin to emerge that reveal a deep corrosion of this fragmented family living in a forgotten America.

 

This Pulitzer Prize-winning masterpiece will be newly invigorated for the WT stage by Resident Director Kimberly Senior (Hedda Gabler, The Diary Of Anne Frank, Marjorie Prime, The Scene), drawing audiences deeply into the story of a family fighting to come to grips with an America that may have left them behind.

 

 

SEASON PACKAGES

Writers Theatre season ticket packages provide a convenient theater going experience and guarantee access to all of WT’s highly anticipated productions throughout the season. Six-play subscription packages are available, ranging in price from $249 to $389.

 

Three-play “Pick Your Own” Flex packages that include two productions in the Nichols Theatre and one production in the Gillian Theatre start at $199.

 

Season package subscribers receive exclusive benefits including complimentary ticket exchanges by phone and mail (upgrade fees may apply), a one-year subscription to The Brief Chronicle newsmagazine and more. For a complete list of benefits visit writerstheatre.org.

 

Season Packages are available at the Box Office, 325 Tudor Court, Glencoe, 847-242-6000 and writerstheatre.org.

 

AUDIENCE ENGAGEMENT OPPORTUNITIES:

For additional information about the WT Audience Enrichment programs listed below, visit writerstheatre.org/events.

 

Pre-Show Conversation: Up Close

Join us at 6:45pm before every Thursday evening performance (excluding previews and extension dates) of Trevor the musical, The Importance of Being Earnest, A Moon for the Misbegotten and Buried Child for a 15-minute primer on the context and content of the play facilitated by a member of the WT Artistic Team.

 

Post Show Conversation: The Word

Join us after every Tuesday evening performance (excluding previews and extension dates) for a 15-minute discussion of the play, facilitated by a member of the WT Artistic Team.

 

Post Show Conversation: The Artist

Join us after every Wednesday evening performance (excluding previews and extension dates) for a 15-minute talk-back featuring actors from the production, facilitated by a member of the WT Artistic Team.

 

Sunday Spotlight

This one-hour event extends the conversation on our stages by featuring an expert in a field related to the themes or setting of each play, moderated by a member of the WT Artistic Team. Seating is limited. RSVP is required.

 

The Making of… Series

Writers Theatre will once again host its popular The Making of… Series, providing insight into a different aspect of creating the productions seen on our stages. This one-hour event will feature WT Literary Manager Bobby Kennedy in conversation with an artist associated with each production, discussing their part in bringing the play to life. The Making of… events are FREE and open to the public. Seating is limited. RSVP is required.

 

From Page to Stage Series

Writers Theatre and select North Shore libraries present the 13th annual From Page to Stage Series. This comprehensive series of special events, lectures, readings and film viewings are designed to enhance and enrich the audience experience of WT productions each season.  All events are FREE of charge and open to the public. For more information about the From Page to Stage Series, visit writerstheatre.org/from-page-to-stage-series. From Page to Stage is generously sponsored by Randy L. and Melvin R. Berlin, who have been supporting the program since its inception 13 years ago.

 

Writers Theatre also offers Access Performances, including ASL-interpretation and Open Captioning on select dates for each production.  Please visit writerstheatre.org/accessibility for more information.

 

 

ABOUT WRITERS THEATRE

For more than 25 years, Writers Theatre has captivated Chicagoland audiences with inventive interpretations of classic work, a bold approach to contemporary theatre and a dedication to creating the most intimate theatrical experience possible.

 

Under the artistic leadership of Michael Halberstam and the executive leadership of Kathryn M. Lipuma, Writers Theatre has grown to become a major Chicagoland cultural destination with a national reputation for excellence, being called the top regional theatre in the nation by The Wall Street Journal. The company, which plays to a sold-out and discerning audience of more than 60,000 patrons each season, has garnered critical praise for the consistent high quality and intimacy of its artistry—providing the finest interpretations of both classic and contemporary theatre in its two intensely intimate venues. 

 

In February 2016, Writers Theatre opened a new, state-of-the-art facility. This established the company's first permanent home—a new theatre center in downtown Glencoe, designed by the award-winning, internationally renowned Studio Gang Architects, led by Founder and Design Principal Jeanne Gang, FAIA, in collaboration with Theatre Consultant Auerbach Pollock Friedlander. The new facility, which was recently recognized with LEED Gold Certification for sustainability initiatives, has allowed the Theatre to continue to grow to accommodate its audience, while maintaining its trademark intimacy, resonating with and complementing the Theatre’s neighboring Glencoe community, adding tremendous value to Chicagoland and helping to establish the North Shore as a premier cultural destination.

 

Find Writers Theatre on Facebook at Facebook.com/WritersTheatre or follow @WritersTheatre on Twitter. For more information, visit www.writerstheatre.org.

 

Black Ensemble Theater CEO/Artistic Director Jackie Taylor has yet again brought a story to the forefront that is as entertaining as it is remarkable, this one written by Associate Director Rueben Echoles. Their current production, “My Brother’s Keeper: The Story of the Nicholas Brothers”, is just the latest at Black Ensemble Theater that relives an iconic piece of history that, to some, is lesser known than it should be. If you are not already familiar with the Nicholas Brothers, you will be after this energetic account that is both engaging and visually stimulating. 

Long before Michael Jackson, Gregory Hines, Justin Timberlake, Alvin Ailey, James Brown, Bruno Mars and John Travolta made their mark in the industry, Harold and Fayard Nicholas blazed a trail to which our just mentioned dance heroes would later be greatly influenced and heavily benefit. Cited as the greatest dance team in the 1930’s and 1940’s, The Nicholas Brothers (formerly called The Nicholas Kids) were revolutionaries, creating some of the most complicated and eye-popping routines to date. Best described as high-flying and dynamic, their inventive dance sequences regularly invoked enthusiastic (and fearful) “oohs” and “aahs” from audiences across the world. 

“My Brother’s Keeper” is the captivating story of The Nicholas Brothers’ rise to fame, but it is also the story of love, discipline, hardships and the unbreakable bond between two African American brothers that were not allowed to patronize the clubs in which they performed during their heyday. 

The play is a timeline that follows the brothers from their childhood, to their stardom, to their marriages and through their deaths – Harold in 2000 and Fayard in 2006. We quickly see and are touched by the strong support the two are given by their parents, college-educated musicians that had once performed in their own act. Though never receiving formal dance training outside of his father’s instruction (he was a drummer), Fayard became something of a dance prodigy, eventually teaching his younger siblings. The story flows like a series of waves with its ups and downs, never in danger becoming stagnant. 

Rueben Echoles not only finely directs and choreographs this dazzling musical, he also suits up for the role of younger brother, Harold. Teamed with Rashawn Thompson as Fayard, the two recreate the magic of The Nicholas Brothers with a slew of heart-stopping tap dancing routines that accurately capture the spirit of the famed duo. Shari Anderson plays the brother’s ever-caring mother, Viola, lighting up the stage herself, particularly in her heartfelt rendition of “Master Give Me Strength”. The boys’ father, Ulysses, is warmly played by Dwight Neal while Jessica Seals is strong as little sister, Geri.  

As the show opens, we are taken inside a 1940’s-ish jazz club, at one point becoming the famous Cotton Club in Harlem. The talented musicians play behind band stands on a stage that has several tiers to allow the singers and dancers ample room to perform. Each performer is staged in glitzy costumes of the period, creating an immediate “Wow” factor.  

Musically, this production contains just about everything one could hope for - including a finale that will take one's breath away. Electrifying tap dancing numbers and exceptional vocal performances are worked into a driving soundtrack that includes favorites such as Louis Prima’s “Sing, Sing, Sing”, George Gershwin’s “I’ve Got Rhythm”, Cole Porter’s “From This Movement On”, mixed in with several beautiful pieces created for the show by Rueben Echoles. We also get a taste of Cab Calloway, whose commanding stage entrance, while donned in his trademark white suit, brings with him the excitement of an era that was ever so rich in music and originality. Vincent Jordan crushes it as Calloway, “Hidee-hidee-hidee-ho-ing” along with the crowd throughout his lively version of “Minnie the Moocher”. The polished performances by cast members in this show are endless, but make no mistake – Rueben Echoles and Rashawn Thomas are on a tier of their own, their vocal contributions, fancy footwork and “stunt dancing” as I would call it, just extraordinary. 

Though centered around the bond between The Nicholas Brothers and their plight to greatness, one story line in the show that some might find particularly interesting is that of Harold’s marriage to Dorothy Dandridge and the many challenges that take place between the two. A relationship sometimes blissful, but often turbulent, we feel a strong sense of love as much as we do regret. The show also delves into Dandridge’s life as a celebrity and the racial obstacles she had to overcome. Taylay Thomas is absolutely stunning as Dandridge and sings the part flawlessly. 

In “My Brother’s Keeper”, Jackie Wilson gives us another history lesson that so well amalgamates importance with entertainment. Wilson has brought several fine works to Black Ensemble Theater in the past including “The Jackie Wilson Story”, “Marvin Gaye Story”, “The Other Cinderella” and “Dynamite Divas”. Jackie Taylor has always had a propensity to bring music-filled productions to Black Ensemble, once profoundly citing music as a tool that can cross cultural barriers and bring people together in their mission to eradicate racism. Perhaps we need that now more than ever. Theater goers will have the chance to see Taylor sing and dance during a three-day engagement March 6th-8th in “From Jackie with Love”, a work that embraces her upbringing in Cabrini Green and her dealings with a dysfunctional family life.  

Recommended as show the entire family can enjoy, “My Brother’s Keeper: The Story of the Nicholas Brothers” is being performed at Black Ensemble Theater through March 26th. For tickets and/or more show information, click here

Black Ensemble has a fun-packed season ahead that includes the productions “Black Pearl: The Josephine Baker Story” and “Sammy: The Story of Sammy Davis Jr.”.

 

As stories go, Mamma Mia! is a light, simple love story injected with plenty of humor and song – nothing heavy in the least, rather an evening island getaway where the sounds of ABBA reign supreme. It is the story of Sophie Sheridan and her mother Donna, who have made home on a Greek Island where they own and run a small resort. But the story really begins when Sophie, unsure of who her real father is, invites three possibilities to her wedding based on information she’s uncovered in her mother’s journal. Of course, Donna has no clue until the three men show up at the island – awkward! With several people vacationing at the island in anticipation of Sophie’s wedding to Sky in a few days, multiple love narratives unfold - and how couldn’t they? After all, you have a handful of romantically starved individuals thrust together in close proximity to each other on a tropical island that oozes amorousness, coupled with the fact that they all seem to lose control to ABBA classics, which come aplenty. 

Marriott Theatre takes on Mamma Mia! as their latest production, uniquely staging the energy-filled production in the round, giving the audience the feeling that they too are guests at the island resort as the action is up close and the aisles are frequently used during the performance. Set designer Scott Davis does a fantastic job creating an island atmosphere throughout the theatre. Strategic alterations are made to convert the musical to the round, including scenic touches like the moat of illuminated water that surrounds the stage and the walls behind theatre goers that are converted into those of a Greek taverna complete with the colorful shutters of French-styled windows. Adding the finishing touches to the Mamma Mia! setting are dazzling costume designs by Theresa Ham and lighting effects by Jesse Klug. 

Danni Smith takes on the leading role of Donna Sheridan, the short-haired brunette replacing the prototypical long-haired, wavy-blonde we are used to seeing in this production. The change is nice. Smith, who was last seen at Marriott Theatre in Man of La Mancha, serves up a powerhouse vocal performance, especially during her crowd stunner “The Winner Takes It All” and her heartfelt rendition of “Slipping Through My Fingers”, delivered with just the right touch of care and concern a mother would have for her daughter. Capturing the essence of Donna so well, we immediately like her and cheer for her. Putting it bluntly, Danni Smith is truly extraordinary. Meghan Murphy and Cassie Slater are rightly cast as Donna’s two lifelong friends Tanya and Rosie. The casting couldn’t have been more perfect. As many times as I have seen Mamma Mia!, I have never seen a more believable friendship than that as between Donna and her besties in this production, which is so convincing you’d think it true in real life. Murphy gets to show off her great sense of comedic timing as Tanya, also taking it to the house vocally, hitting one way out of the park in the racy number “Does Your Mother Know”. 

Taking on yet another challenging vocal role in the show, this one of Sophie, is Tiffany Tatreau, who handles it with apparent ease. Tatreau, undoubtedly gifted in the vocal department, tackles several demanding songs on her own and adds on many occasions to the captivating vocal harmonies that make this musical so special. 

Sophie’s three possible fathers are also cast well, Peter Saide getting plenty of chances to display his own finessed vocal skill as Sam Carmichael, while Karl Hamilton and Derek Hasenstab draw some big laughs as Donna’s other two ex’s Harry Brightwell and Bill Austin. Russell Mernagh makes his own mark as Sky, Sophie’s soon to be husband. Mernaugh, whose beach bum charm is nothing short of convincing, puts forth a well-rounded performance that makes him a solid choice for the role. Overall, the cast is just sensational from top to bottom, getting strong support from its incredible ensemble who wows the audience on several occasions with big-time dance and vocal routines.

All the elements are in place to provide an entertaining evening without even the slightest lull. The stage is often taken over by energetic dance numbers that will have you tapping along or beautifully arranged ballads that will move your soul. The humor is abundant, the subject matter light and the visuals so easily take your mind elsewhere - somewhere dreamy. Yes, the table is perfectly set to enjoy a night of ABBA hits done with much originality from “Dancing Queen” to “Waterloo”. Fun is "the name of the game" in this wild ride stringed together by a compilation of the Swedish sensation's biggest hits - so much fun in fact, that you might have to pull out your glitzy, bell-bottomed, spandex one-piece (we all have one, don't we?) after getting home from the show.  

Mamma Mia!, already a winning show, has now become even more of a special experience as it is put together so well, and uniquely, by Marriott Theatre in a way that cannot be seen anywhere else. When you put it all together – the great music, the talented performances and a setting that takes you miles and miles away to a tropical bliss – it all adds up to “Having the time of your life”.

Highly recommended. 

Mamma Mia! has already been extended and is being performed at Marriott Theatre in Lincolnshire through April 16th. For more show information, click here.     

   

 

Tribute shows are generally as good as the performers that star. I probably just stated the most obvious fact on the planet. Yet it’s so very true. No matter how good the song selection, the costumes, the set, it is the vocal performance that we bring home with us. In “My Way: A Musical Tribute to Frank Sinatra” a different taste of Sinatra is delivered; rather than presenting an Ol’ Blue Eyes impersonator, we are invited to a 1960’s club setting where four actors casually reminisce with the audience over more than fifty Sinatra favorites. 

The musical revue, rich in its depicted era, stars George Keating, Christine Mild, Eric A. Lewis and McKinley Carter, each taking turns riffing through classics like “Makin’ Whoopee”, “Fly Me to the Moon”, “The Best is Yet to Come”, “Young at Heart”, and “It was a Very Good Year” – the songs are countless. The four have made their mark in the Chicago theatre scene, Lewis a Jeff Award Winner for his work in Porchlight Music Theatre’s “Dreamgirls”, Mild, who not only starred in Theater at the Center’s “Pump Boys and Dinettes” but who has recently released her debut solo album “Love Is Everything”, Carter, who has done work in prestigious venues such as Writers Theatre and Drury Lane Oakbrook, and Keating, who not only has been featured in Disney’s “The Little Mermaid” at Paramount Theater, but is the co-founder of the very popular Chicago and Off-Broadway hit “Schoolhouse Rock Live”. 

The four actors work well together as snippets of Sinatra songs are often worked into light exchanges between the characters. They gracefully glide around the stage and upon the stairways often pairing elegantly for dance routines. Often, the characters might be seen having a drink at the bar or nonchalantly interacting at a table, setting a relaxed night-out-on-the-town mood. Throughout the show, Sinatra factoids and quotes are tossed about during song breaks, allowing at times for the audience to participate. The club centers around a bar, where a live band simplified to piano (William Underwood), bass (Jake Saleh) and drums (Nick Anderson) plays directly behind it. Despite the small size of the outfit, the sound is big and the musicians ever-impressive, each getting to show their skills off a bit while briefly featured individually in the second act. 

While perhaps wishing for a little more "oomph" overall in the individual vocal performances (mainly on the lower notes) ala Sinatra, each of the performers have their shining moments and are able to deliver the songs with their intended pizzazz and vigor. But the magic in this show is when the four would sing together, whether it be a duet or a four-part harmony. It is with these synchronized vocal efforts one easily loses themselves in the beauty of Sinatra’s work. 

Brenda Didier both directs and choreographs this fascinating piece with a stylish aplomb that captures the charm of the period so very well. Lewis particularly stands out during his renditions of “My Kind of Town” and “I’m Gonna Live ‘Til I Die”, while Keating finishes strong with a fervent version of “That’s Life”. The production flows at a nice pace and is a pleasing homage to Sinatra, though we are often teased with a song segment left wanting to hear the piece in its entirety. This is countered by the fact that we are given such a vast collection of the music Sinatra made famous. The show ties together well eventually leading us to an expressive interpretation of perhaps Sinatra’s most timeless classic, “My Way”, commendably performed by the entire cast. 

“My Way: A Musical Tribute to Frank Sinatra” is a time capsule that will certainly touch the hearts of “Chairman of the Board” fans, but is equipped with enough nostalgia, panache and musical talent to please even the most curious. This polished production is being performed at Theater at the Center in Munster, IN through March 19th. Click here for tickets and/or more show information.   

 

In 1931 nine African American teenagers were wrongly accused of raping two white women while aboard a freight train in Alabama. Worried they might get imprisoned for prostitution while traveling aboard the same train, Victoria Price and Ruby Bates quickly cried rape, diverting the attention rather to the handful of innocent boys. These nine boys became known as The Scottsboro Boys, growing more and more infamy as their many trials became public interest throughout the nation. Fighting through Southern angry mobs, an all-white jury and a trial that was hastened, the nine boys were quickly convicted and sentenced to death by hanging. As word spread of the prejudice demonstrated, Northerners eventually stepped in to see that such a miscarriage of justice be overturned, but that was just the beginning of a process clouded by an ugly and unjust preconception. The uphill fight was long and grueling and successes were slow in the making. The story, superbly performed by Porchlight Music Theatre, is remarkable, sad and hopeful.

Written by David Thompson and directed by Samuel G. Roberson, “The Scottsboro Boys” is a controversial musical, now making its debut in Chicago after Broadway and London runs, and is the last featuring the music and lyrics of John Kander and Fred Ebb, mostly known for their triumphant smash hits “Chicago” and “Cabaret”. The story, a compelling and emotional ride through the racist South is a painful lesson of our nation’s dark history and serves as a stark reminder that change for a better world must never be ignored as we move forward as a unified people.  

Throughout the musical’s duration, we see an image of a pained Rosa Parks (Cynthia Clarey) who plays witness to the injustices that take place. Though her stand wouldn’t take place until years later, we see the effect such a stirring account would have on approaching generations. Sad as this tragic story as such is, we feel hope for the future by the play’s end and a realization for the work that still needs to be done.

“This is a story that needs to be told,” says Mark J.P. Hood who stars as Mr. Tambo. 

The nearly all African American cast delivers several all-around brilliant performances, doling out tremendous vocal harmony efforts, powerful acting and dance numbers that are both inventive and energetic. Currently running at Stage 773, a mid-sized theatre, the only drawback is that it is easy to envision the musical preformed on a larger stage, sometimes routines appearing a bit crowded. Still, that’s a very small drawback, because the play’s director is able to utilize its given space to maximize this Broadway-sized show effectively, moving boxcars and all.    

Denzel Tsopnang and Mark J.P. Hood lead this gifted ensemble along with James Earl Jones II with commanding acting performances that would be hard to beat. The Scottsboro Boys is a real showcase for both Tsopnang and Hood, who flex their versatility while taking on a handful of roles. Veteran actor Larry Yondo, most recently known for his spot-on portrayal of Ebenezer Scrooge in Goodman’s “A Christmas Carol”, also puts forth yet another admirable effort as The Interlocutor. With several beautiful vocal harmonies that sweep the house with robust sentiment, it is perhaps “Go Back Home”, a pivotal number that relates to those longing to find peace passionately led by Jones II, that will truly resonate with theatre goers long after the show. Though the vocal finesse is abundant throughout, fourteen-year-old Cameron Goode and Stephen Allen Jr. somehow find room to dazzle us even more. 

As jaw dropping as many of the numbers are in their performance, the audience often finds reluctance in their clapping, the weight of the subject matter almost seemingly inappropriate to applaud. But it is in these performances that the story is told so well. A handful of poignant casting twists take place as the white policemen and the woman accusers are played by African Americans. 

“The Scottsboro Boys” is a highly recommended theatre experience, both exceptional in its performance and its ever-important message. Wonderfully staged, acted and sung, this is a thoroughly entertaining production that will invoke much thought, inspire bravery and encourage action to be taken long afterwards. 

“The Scottsboro Boys” is being performed at Stage 773 through March 12th. For tickets and/or more show information click here.     

 

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