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About Face Theatre continues its 29th season with the Midwest premiere of The Brightest Thing in the World by Leah Nanako Winkler, directed by AFT Artistic Associate Keira Fromm. The show will run March 14 through April 13, 2024, at The Den Theatre. The Brightest Thing in the World starts as a bubbling romantic comedy between barista Lane and her regular Steph, charting their growing relationship as they encounter real-world challenges like teen pregnancy, parenting, and addiction. This play is a celebration of love, family, and the people in our lives who shine the brightest.

THE BRIGHTEST THING IN THE WORLD

Written by Leah Nanako Winkler

Directed by AFT Artistic Associate Keira Fromm

 

March 14 – April 13, 2024 | Press opening: Friday, March 22

All performances will take place at The Den Theatre, 1331 N Milwaukee Ave, Chicago

Showtimes: Thurs and Fri at 8:00pm, Sat at 3:00pm and 8:00pm, Sun at 3:00pm

Please note: There is no matinee performance on Saturday, March 16

Open Captioning performances: Dates TBD.

Masks Required performances: Saturday matinees on March 30 and April 6 will require every attendee to wear a mask.

Pay-what-you-can tickets ($5 – $35) on sale now at The Den Theatre box office or About Face Theatre's website.

TICKETS

Tickets are on sale now online at AboutFaceTheatre.com, by calling 773.697.3830, or in-person at The Den Theatre box office. Ticket prices range from $5 to $35.

AFT offers a ticket pricing system that allows each patron to decide the price that they can comfortably afford to pay for a ticket. Ultimately, About Face wants everyone who wants to attend a show to be able to do so. Please note: there are limited quantities available at each pricing level.

THE PLAY

Charmingly free-spirited barista Lane is determined to win over her new regular, the reserved and intellectual Steph. Delightful romantic comedy ensues with poetry, homemade desserts, and sparks flying. But both women are carrying life-changing secrets involving addiction, past relationships, and family. What happens when the giddy romance wears off and Lane and Steph must do the work of building a lasting relationship out of honesty, compassion, and courage? The Brightest Thing in the World is a funny, heartfelt new play delving into the people we think we know and the people we know we love.

"I love Leah Nanako Winkler's use of language and the smart, messy, recognizable women at the center of the story," says director Keira Fromm. "She has created a play that manages to be both a funny queer rom-com and a devastating portrait of addiction and the ways we're all constantly in a state of recovery."

 

The Brightest Thing in the World was commissioned by Yale Repertory Theatre in 2019, where it received its world premiere in 2022.

CAST

Blakewell (Della)

Claire Kaplan (Lane)

Jojo Brown (Steph)

PRODUCTION TEAM

Dramaturg, Casting Director        Catherine Miller

Choreographer                              Jenn Freeman

Intimacy & Violence Designer     Sheryl Williams

Assistant Director                         Aimy Tien

Scenic Designer                           Sotirios Livaditis

Lighting Designer                         Conchita Avitia

Sound Designer                           Christopher Kriz

Costume Designer                       Gregory Graham

Properties Designer                     Amanda Herrmann

Technical Director                        Becca Venable

Stage Manager                            Jean Compton

Assistant Stage Manager            B Valek

Production Manager                    Audrey Kleine

Keira Fromm (she/her): director

Keira is a Chicago-based, Jeff-award nominated director. She is also an Artistic Associate with About Face Theatre where she directed Bull in a China ShopSignificant OtherBright Half Life, and A Kid Like Jake. Other directing credits include: Who's Afraid of Virginia Woolf (Milwaukee Chamber Theatre), The MoorsA Phoenix Too Frequent, and A Doll's House (American Players Theatre), The Last Match (Writers Theatre); At the Wedding and Miss Bennet: Christmas at Pemberley (TheatreSquared); Top Girls and hang (Remy Bumppo); The Columnist (American Blues Theater); Charles Ives Take Me Home (Strawdog); The How and the Why (TimeLine Theatre); Broadsword (The Gift Theatre); and Fallow (Steep Theatre.) She received her MFA from DePaul University, her BFA from Boston University, is an alumna of Lincoln Center Theater Directors Lab, and a member of SDC, the professional directors union. Keira will be directing The Liar at American Players Theatre this upcoming summer.www.keirafromm.com

Cyd Blakewell (she/her): "Della"

Cyd was most recently seen in Northlight Theatre's Birthday Candles. She is a proud ensemble member of The Gift Theatre. Gift Theatre credits: The LocustsPillowmanDoubtA Life Extra OrdinaryGood For OttoBody + BloodBroadswordMine, and TEN. Other Chicago credits: The Snare (Jackalope); Balm In Gilead and Port (Griffin); Buddy Cop 2breaks & bikes, and Milk Milk Lemonade (Pavement Group); Sweet Confinement and Ivanov (SiNNERMAN Ensemble); Orange Flower Water (Interrobang); Lies & Liars and Mimesophobia (Theatre Seven); Rewind (The Side Project). Last summer she wrapped on a short film called Fairground and can also be seen in Jeri's Grille. Next, you can see her in the World Premier of Obliterated by Andrew Hinderaker, co-starring Michael Patrick Thornton. Cyd got her BFA from Southwestern University in Georgetown, TX and is a graduate of the School at Steppenwolf. She is represented by Promote Talent Agency.

Jojo Brown (she/her): "Steph"

Jojo Brown is a stage and screen actor who was born and raised in Chicago. Off-Broadway credits include CHARM and 7 Minutes. Television credits include her recurring role as Mindy on Freeform's "Single Drunk Female" and appearances on NBC, Showtime, Comedy Central, FX, and Paramount Plus.

Claire Kaplan (she/her): "Lane"

Claire is a theater-maker, actor, and teacher from Long Beach, CA. Regional credits include South Coast Rep, La Jolla Playhouse, and East West Players. Claire is co-artistic director of The West, an experimental theatre company formerly based in LA, now creating work in Chicago and Berlin. She is directing Theatre Unspeakable's touring show introducing Shakespeare to kids and is teaching devised theater at UIC. She recently helped create the musical world for Backroom Shakes' The Winter's Tale.

Leah Nanako Winkler (she/her): playwright

Leah Nanako Winkler is an award-winning playwright and TV writer from Kamakura, Japan, and Lexington, Kentucky. Her plays include God Said ThisTwo Mile HollowKentuckyHot Asian Doctor Husband, and The Brightest Thing in the World, as well as many short plays all produced Off-Broadway and regionally. Accolades and fellowships: Yale Drama Series Prize, Mark O'Donnell Prize from The Actors Fund and Playwrights Horizons, Audible's Emerging Playwrights Fund, Jerome New York Fellow at the Lark, Francesca Primus Prize, and a 2020 Steinberg Playwright Award. She is published by American Theater Magazine, Nanjing University's Stage and Screen Reviews, Yale University Press, Backstage, Smith and Krauss, Samuel French, and Dramatists Play Service. TV credits include Michael Moore's TV NATIONNew Amsterdam, A24's Ramy on Hulu (where she along with the other writers won a Peabody Award), Love Life on HBO MAX, and currently on projects at Apple, Warner and Amazon.

ABOUT FACE THEATRE advances LGBTQ+ equity through community building, education, and performance. AFT envisions an affirming and equitable world in which all LGBTQ+ individuals are thriving and free from prejudice and discrimination. About Face Theatre is also dedicated to being an intentionally and increasingly anti-racist organization. Due to the intersectionality of our identities, we understand our work to advance LGBTQ+ equity as directly connected to movements for racial justice.

Published in Upcoming Theatre
Thursday, 20 July 2023 16:56

About Face Theatre announces 2023-2024 season

About Face Theatre announces plans for its 29th season. Dedicated to advancing LGBTQ+ equity through community building, education, and performance, About Face will present two regional premiere productions at The Den Theatre in Wicker Parker, as well as the return of its popular workshop reading series Re/Generation Studio and touring performances and workshops.

About Face's 2023-2024 season will begin in October with Re/Generation Studio, a free three-week reading workshop series charting the future of LGBTQ+ theatre. AFT first presented Re/Generation Studio in its 2022-2023 season and featured such plays as Roger Q. Mason's Lavender Men, Steven Strafford's The Model Congressman, and Derek Lee McPhatter's underdrown, among others. Plays and workshops in this season's Re/Generation Studio will be announced in August. The season will continue in 2024 with the Midwest premiere of The Brightest Thing in the World by Leah Nanako Winkler, directed by AFT Artistic Associate Keira Fromm. The Brightest Thing in the World charts the evolution of a lesbian couple's rom-com courtship through struggles with honesty and addiction. The season will conclude with the Midwest premiere of Lavender Men by Roger Q. Mason, directed by Lucky Stiff, starting in April 2024. In Lavender Men, contemporary gender non-conformist Taffeta plays post-mortem matchmaker to Abe Lincoln and his queer legal assistant Elmer Ellsworth, only to realize she is the one who needs real love healing. During the season, About Face will also offer customized touring workshops and performances throughout Chicagoland designed to increase a sense of belonging, invite brave dialogue, and move individuals and groups toward equity and action.

"We are at a fraught moment in history where it is vital that we continue elevating LGBTQ+ stories and amplifying queer voices," says AFT Artistic Director Megan Carney. "About Face's mission is all about advancing LGBTQ+ equity through community building, education, and performance. And this season features some truly unique stories that will bring audiences together and incite our imaginations in the ways that only great theatre can."

ABOUT FACE THEATRE'S 2023-2024 SEASON

The Brightest Thing in the World

Written by Leah Nanako Winkler

Directed by AFT Artistic Associate Keira Fromm

 

March 14 – April 13, 2024 | Press opening: Friday, March 22

Showtimes: Thurs & Fri @ 8:00pm, Sat @ 3:00pm & 8:00pm, Sun @ 3:00pm

All performances will take place at The Den Theatre, 1331 N Milwaukee Ave, Chicago

Pay-what-you-can tickets ($5 – $35) on sale September 15, 2023, at The Den Theatre box office or About Face Theatre's website.

Charmingly free-spirited barista Lane is determined to win over her new regular, the reserved and intellectual Steph. Delightful romantic comedy ensues with poetry, homemade desserts, and sparks flying. But both women are carrying life-changing secrets involving addiction, past relationships, and family. What happens when the giddy romance wears off and Lane and Steph must do the work of building a lasting relationship out of honesty, compassion, and courage? The Brightest Thing in the World is a funny, heartfelt new play delving into the people we think we know and the people we know we love.

"I love Leah Nanako Winkler's use of language and the smart, messy, recognizable women at the center of the story," says director Keira Fromm. "She has created a play that manages to be both a funny queer rom-com and a devastating portrait of addiction and the ways we're all constantly in a state of recovery." The Brightest Thing in the World was commissioned by Yale Repertory Theatre in 2019, where it received its world premiere in 2022. About Face's production will be the play's Midwest premiere.

Lavender Men

Written by Roger Q. Mason

Directed by Lucky Stiff

May 9 – June 8, 2024 | Press opening: Friday, May 17

Showtimes: Thurs & Fri @ 8:00pm, Sat @ 3:00pm and 8:00pm, Sun @ 3:00pm

at The Den Theatre, 1331 N Milwaukee Ave, Chicago

Pay-what-you-can tickets ($5 – $35) on sale September 15, 2023, at The Den Theatre box office or About Face Theatre's website.

Taffeta is a fat, multi-racial femme with a unique form of queer magic: she can conjure dead historical figures. In this energetic and surreal play, Taffeta invites audiences along as she summons none other than President Abraham Lincoln and his handsome young law clerk Elmer Ellsworth to her stage. Playing every other character in Abe and Elmer's gay narrative, Taffeta uses this fantasia to confront issues of visibility, race, and LGBTQ+ inclusion. But is any of this historically accurate? Sit down, honey, that's not what we're here for. Lavender Men is an embrace to every queer, fat person of color who has been ignored, neglected, or erased for unapologetically being themselves.

Lavender Men was first produced at Skyline Theatre in Los Angeles in 2022 with playwright Roger Q. Mason in the role of Taffeta. About Face Theatre introduced the play to audiences last season through our Re/Generation Studio workshop series, featuring playwright Roger Q. Mason and director Lucky Stiff. Audience reaction was so enthusiastic that About Face is now thrilled to present a full production of this new work in our 29th season.

"Lavender Men was born from my time living and studying in Chicago, almost 10 years ago," says playwright Roger Q. Mason. "The city's vibrant embrace of LGBTQIA+ life liberated me personally and artistically, and I emerged a proud plus-sized, queer, POC playwright in the American Theatre. About Face Theatre is a leader, locally and nationally, in queer storytelling, and I am honored to partner with them to bring Lavender Men home to its birthplace—Chicago."

Re/Generation Studio

An intergenerational workshop series building the future of queer theatre

Nov 30 – Dec 16, 2023

Individual workshop days & times TBD

at The Den Theatre, 1331 N Milwaukee Ave, Chicago

All workshops are free and open to the public.

Re/Generation Studio is About Face Theatre's invitation to build the future of queer theatre together. This welcoming series of public workshops is shaped as a collective dreaming space for connecting with each other, learning about new plays, world-building, and exploring new production models. Each workshop will be grounded by staged readings of sections of new plays designed to invite conversation, collaboration, and creation in a shared space. Facilitators will offer key questions and considerations raised by the playwrights and directors and encourage participants to work together to brainstorm and develop creative solutions.

About Face premiered Re/Generation Studio in February 2023 as a vehicle for reconnecting, restoring, and recreating with audiences and artists after the pandemic. The overwhelming response from participants proved to us that these kinds of creative events are necessary to build and rebuild our communities. AFT is thrilled to be bringing the series back to continue engaging audiences and artists directly with up-and-coming new LGBTQ+ plays.

"Re/Generation Studio is all about taking the risk of coming together and sharing experiences," says co-curator Pen Wilder. "The perspective I gained through the workshops as an artist, a playwright, and a person were invaluable. Every great play was once a new play, and being there for so many different beginnings, middles, and ends is something really special. I'm thrilled to be involved and look forward to dreaming bigger this upcoming season."

Touring Workshops and Performances

About Face teaching artists offer fun and accessible workshops for groups throughout the year. In collaboration with schools, churches, workplaces, clubs, and community groups, these sessions can increase a sense of belonging, invite brave dialogue, and move groups toward equity and action goals. The company's facilitators work with group leaders to identify key goals and then present activities in mindfulness, listening, and storytelling. Interested parties can learn more at AboutFaceTheatre.com/education/touring-programs.

ABOUT THE ARTISTS

Keira Fromm (she/her)The Brightest Thing in the World director

Keira is a Chicago-based, Jeff Award-nominated director. She is also an Artistic Associate with About Face Theatre where she directed Bull in a China ShopSignificant OtherBright Half Life, and A Kid Like Jake. Other directing credits include: Who's Afraid of Virginia Woolf (Milwaukee Chamber Theatre), The MoorsA Phoenix Too Frequent, and A Doll's House (American Players Theatre), The Last Match (Writers Theatre); At the Wedding and Miss Bennet: Christmas at Pemberley (TheatreSquared); Top Girls and hang (Remy Bumppo); The Columnist (American Blues Theater); Charles Ives Take Me Home (Strawdog); The How and the Why (TimeLine Theatre); Broadsword (The Gift Theatre); and Fallow (Steep Theatre.) She received her MFA from DePaul University, her BFA from Boston University, is an alumna of Lincoln Center Theater Directors Lab, and a member of SDC, the professional directors union. Keira will be directing The Liar at American Players Theatre this upcoming summer.www.keirafromm.com

Leah Nanako Winkler (she/her)The Brightest Thing in the World playwright

Leah Nanako Winkler is an award-winning playwright and TV Writer from Kamakura, Japan, and Lexington, Kentucky. Her plays include God Said ThisTwo Mile HollowKentuckyHot Asian Doctor Husband, and The Brightest Thing in the World, as well as many short plays all produced Off-Broadway and regionally. Accolades and fellowships: Yale Drama Series Prize, Mark O'Donnell Prize from The Actors Fund and Playwrights Horizons, Audible's Emerging Playwrights Fund, Jerome New York Fellow at the Lark, Francesca Primus Prize, and a 2020 Steinberg Playwright Award. She is published by American Theater Magazine, Nanjing University's Stage and Screen Reviews, Yale University Press, Backstage, Smith and Krauss, Samuel French, and Dramatists Play Service. TV credits include Michael Moore's TV NATIONNew Amsterdam, A24's Ramy on Hulu (where she along with the other writers won a Peabody Award), Love Life on HBO MAX, and currently on projects at Apple, Warner and Amazon.

Roger Q. Mason (they/them)Lavender Men playwright

Roger Q. Mason is a writer and performer who uses the lens of history to disrupt the biases that divide rather than unite us. Their playwriting has been seen on Broadway (Circle in the Square Reading Series); Off and Off-Off-Broadway; and regionally. Mason's world premiere of Lavender Men was lauded by the Los Angeles Times as "evoking the mingled visions of Suzan-Lori Parks, Jeremy O. Harris, and Michael R. Jackson." As a filmmaker, Mason has been recognized by the British Film Institute, Lonely Wolf International Film Festival, SCAD Film Festival, AT&T Film Award, and Atlanta International Film Festival. Their films have been screened in the US, UK, Poland, Brazil, and Asia. Mason holds degrees from Princeton University, Middlebury College, and Northwestern University. They are a member of the Dramatists Guild of America and Ma-Yi's Writing Lab, and are an alum of Page 73's Interstate 73 Writers Group and Primary Stages Writing Cohort. Mason has co-hosted the podcast Sister Roger's Gayborhood and hosted This Way Out Radio's Queerly Yours: Portraits in Courage. They are a lead mentor of The Marsha P. Johnson Institute's Starship Fellowship, the New Visions Fellowship, and the Shay Foundation Fellowship. Instagram: @rogerq.mason

Lucky Stiff (they/them)Lavender Men director

Lucky Stiff is a trans and nonbinary director, writer, and performer working in Chicago and New York. They build original experiences that combine nightclub culture and performance art which have been featured at the Museum of Contemporary Art Chicago, Steppenwolf Theatre Company, Blue Man Group Chicago, Boy Friday Dance Company, and Bushwig Festival of Drag, among many others. They hold an MFA in Directing for Theater from Northwestern University and have lectured in performance and directing at UC Santa Cruz, UC Santa Barbara, Northwestern University, University of Illinois at Chicago, and the School of the Art Institute of Chicago.luckystiffdrag.com

Pen Wilder (they/them): Re/Generation Studio co-creator

Pen is a playwright, aspiring dramaturg, and artist with a focus in queer storytelling. They contribute to various literary publications and have been seen in journals such as Mulberry Literary and the ChillFiltr Review. In their free time, they also can be seen performing as part of indie rock group Cowboy Neal. Their play Switch Hitta was featured in last season's Re/Generation Studio, and they are currently working on their next full-length play, Earthshine.

Megan Carney (she/her): AFT Artistic Director, Re/Generation Studio co-curator

Megan's work thrives at the intersection of making theatre and building community. As the Artistic Director for About Face Theatre she combines her love for directing, producing, and teaching. Prior to working with About Face in this role, Megan served as the Director of the Gender and Sexuality Center at the University of Illinois at Chicago and was one of the founders of About Face Youth Theatre. She is a certified mediator with the Center for Conflict Resolution, earned an MFA in Theatre with a focus on Directing and Public Dialogue from Virginia Tech, and a BA from Kalamazoo College, where her ideas about art and activism began to take shape. Recent Chicago directing credits include The Gulf20/20, and Time Is On Our Side (About Face), WinterGrizzly Mama, Danielle Pinnock's Body/CourageAmerican Wee Pie, and The Walls (Rivendell). Plays based on extended oral history projects including Women At War (Rivendell); Open Systems (Goodman Theatre); and Let Them Eat Cake (Dixon Place, NYC). Megan designed and teaches a Queer Theatre class for Columbia College Chicago and has been an adjunct instructor at DePaul University. Her work has been recognized with multiple After Dark Awards, the GLSEN Pathfinder Award, an APA Presidential Citation, induction into Chicago's LGBT Hall of Fame, and a Rockefeller Foundation MAP Grant, among others.

Logan Jones (he/him): AFT Managing Director

Logan is a Chicago-based artist, administrator, and consultant. He has frequently collaborated with multiple theatre companies while utilizing his artistic and technical skills, organizational capabilities, and highly-collaborative working style. Logan has worked with Ensemble Consulting as Facilitator and Project Manager on various leadership transitions and organizational development projects since 2015. As a stage manager and production manager, he has helmed multiple productions for About Face Theatre, American Theater Company, The House Theatre of Chicago, Windy City Playhouse, Denver Center for the Performing Arts, 13Exp, and the American Music Theatre Project, among others. Logan holds a BA in Theatre and BA in Modern Languages from Kansas State University, a certificate in Equity, Diversity, and Inclusion in the Workplace from University of South Florida, and is a graduate of the Axelson Center Bootcamp for Nonprofit CEOs at North Park University.

ABOUT FACE THEATRE advances LGBTQ+ equity through community building, education, and performance. Learn more at aboutfacetheatre.com

Published in Upcoming Theatre

'The Magnolia Ballet' is an exceptional show—perfect in performances, direction (Mikael Burke), staging. And then there’s the script, by Terry Guest, who also plays the lead as Ezekiel “Z” Mitchell VI. While this show merits a Jeff Award (Chicago's Tony) without doubt, I believe it’s Pulitzer material, at least in my book. Why?

On the surface, 'The Magnolia Ballet' may seem an unassuming tale of a young black boy, Z, and his gradual coming out as gay in an unwelcoming rural South. Bright and sensitive, Z longs for affection denied by a stern and authoritarian father Ezekiel Mitchell V (Wardell Julius Clark). After his mother dies, Z takes solace in a grammar school friend, Danny Mitchell (Ben Sulzberger), a white boy. Best buddies, they do homework and listen to music together, and develop a tacit sexual relationship after puberty. And they probe whether they may have found that unicorn sought so sorely by white people, a post-racial friendship that jettisons five generations of slave and master dynamics.

All this in just 95 minutes (no intermission) that is humorous and adept. Terry Guest as Z is a remarkable actor, and we may have something on the order of 'Hedwig and the Angry Inch,' with author and performer in one. Sheldon D. Brown hovers over the action as Apparition, a ghost and stand-in for numerous men and women, black and white. His performance is a wonder, truly. Wardell Julius Clark is excellent as Z’s father, and periodically, Danny’s father, a white sheriff. Ben Sulzberger as Danny Mitchell nails the role.

Powerful and touching material for a sentimental memoir on its own, but the playwright takes it so much further, providing a sweeping context for examining how he as a gay Black man was formed. It includes the history of his father’s emotional constraints passed down over generations from the progenitor, a slave for whom expressing paternal love could be dangerous. We get a review of four centuries of white apologists for the “necessary evil” of slavery. We hear the specious argument from Z’s best friend about “remembering” the Confederate history but not embracing its roots in the economic defense of slave labor. A host of asides and details like the fact Z’s friend wears a Confederate jacket reproduced in 1910, provide clues to the overarching story: This jacket is not really an artifact saved from 1865, but evidence of the collective cultural consciousness that, replicating and propagating itself, perpetuates racism today.

Playwright Terry Guest gives us the white view of the world accurately, in a way we can understand. Z’s friend Danny laments his generational past: his ancestors helped perpetrate church burnings and the Selma bombing. They were at the revival of the Ku Klux Klan. Danny aspires to be released from his roots, and offers a sincere apology to Z for this baggage. And we get high points of cultural icons like “Gone With the Wind” and the threatening white sheriff seen through white and black eyes.

Guest is schooled in theater and a skillful playwright. Before this Chicago premiere 'The Magnolia Ballet' was staged at Indianapolis' Phoenix Theatre. Guest's other works include 'The Madness of Mary Todd Lincoln,' 'Andy Warhol Presents: The Cocaine Play,' and most recently 'At the Wake of the Dead Drag Queen.' This play is described as a "Southern Gothic fable that melds high drama, poetry. and spectacle to explore masculinity, racism, and the love between a queer kid and his father." 

The production incorporates balletic renderings of a barbershop haircut, evocative song, and Sheldon D. Brown's Apparition renders these and so many other poetic scenes that evidence his prolific background as a an actor from Shakespeare to contemporary works, and educator credits at Steppenwolf and Northlight. It is an underpinning of the play and production.

In the end, the white boy Danny meets a crossroads, forsaking Z in an incident triggered by homophobia, but powered by the centuries of separate and unequal power whites have over Blacks. The suggestion is that the racial divide is so ingrained it perpetuates itself. The playwright artfully gives white people an accessible view of the white world through Black eyes. We see this young Black man suffer for opening his heart to a white man. Guest paints a specific portrait of our racial split, and shows why it is so intractable. If that divide is ever to be bridged, it will be helped by great artists like Guest and the creative team of About Face Theatre. Highly recommended, it runs through June 11 at the Den Theater, 1331 N. Milwaukee Ave. in Chicago.

Published in Theatre in Review

The Total Bent is a musical show so delightful I wish I could shrink it down, put it in a shoebox and show it to all my friends. But you can (and should) go see it full scale at Den Theatre, where it runs through March 10.

Ostensibly the story traces a British record producer’s effort to record a Gospel music prodigy in Montgomery, Alabama. But to be truthful the real story told by playwrights Heidi Rodewald and Stew depict with color and verve the personal journey of a creative spirit – Marty Roy (Gilbery Domally) – as he finds his voice and attains fame on a global stage.

All that is set against a sweeping portrait of the tense interplay between black music and African-American culture as the Civil Rights movement seized the day. It is told through the oedipal battle of a father and son who are at odds around matters, spiritual, social and musical.

The Total Bent features Chicago treasure Robert Cornelius as Montgomery preacher Joe Roy who has built his career as a Bible-thumping televangelist and Gospel music recording artist. This role taps Cornelius's wonderfully expressive baritone, and his stentorian delivery in the dialog.

But it is Gilbery Domally, as Joe’s young adult son, who steals the show, channelling the role of Marty Roy. He is dazzling! Domally is more like a force of nature than mere performer as he traverses a role that sees him evolve from his father’s hidden spiritual musical muse, moving across multiple musical styles and stage personae as he navigates toward his creative apotheosis on the world stage.

All this is told with an acerbic wit, and that ironic twist we get from the likes of Donald Glover, Jordan Peel, and Spike Lee.
From the moment Marty Roy prances onto the stage, we are treated to a continuous critique of his father, and an uproarious and irreverent running commentary on the conflicts between those clinging to the status quo in the Jim Crow South, as Black Power emerged.

Joe Roy is celebrated for his inspiring, traditional Gospel songs. But to keep the song mill moving, he relied on his wife, now gone, and now his son Marty, to pen the music. As the social revolution rocks Montgomery and the South, Marty encourages his father to tap into it in his preaching and singing, and provides him a lovely song with a scathing refrain: “That’s why he’s Jesus and you’re not, Whitey.” Marty asks the Music Director (Jermain Hill, who also plays Deacon Charlie, is a stitch) to do a retake: "Try a less church-y sound," he says. "I am such a pest!" 

Siding with social conservatives, “This protesting stuff is going to ruin everything,” Joe Roy tells his son. “Is there any real money in it?” He advises Montgomery's white people to ride the buses to combat the boycott by blacks that was launched by Rosa Parks. “If our spiritual rights were in order, we wouldn’t need no civil rights,” he advises his African-American followers.

Then Marty Roy skips across to stage right, waves his hand, and offers an explanation to the audience (it's hard to imagine today, but most white people regarded Parks as a villain): “This all be the past, and shit.” Rather than labor in his father's vineyard, Marty sets out to become a secular music writer, and we watch him transform in stages, becoming a James Brown soul singer with carefully choreographed back-ups, to a Prince-like apparition who has continuous bookings in London.

The Total Bent is largely a sung work, with limited amounts of dialog. It is the latest theatrical script by the creative team of Heidi Rodewald, and Stew. The two rose to fame with Passing Strange, which won a Tony, an Obie, and a Drama Critics Circle Award in 2008. Stew (he doesn’t use his last name, See) is a singer, songwriter, and leader of a pop-rock band in Los Angeles called The Negro Problem, which recorded Post Minstrel Syndrome in 1997. As this background suggest, Stew mines a rich vein of “detached black irony” in his creations.

The music is wonderful, two band members also characters: Frederick Harris as Deacon Dennis; and Jermain Hill as Deacon Charlie. Outstanding also were supporting cast members Michael Turrentine as Andrew and Breon Arzell as Abee – the duo deftly taking on a variety of comical roles as church ladies and bumpkins.

Among so many striking aspects of the show, we get to see and hear several songs composed, Joe Roy's sacred version, then a retake by Marty Roy in a profane rock style. One such is "Sinner I Know You're Lost." It's a lovely classic hymn as Joe Roy originates it; but it is transporting when Marty Roy redoes it in a swinging rock style, coupled with the refrain, "I gotta get up on the cross." 

The Total Bent is highly recommended on its own merits, and especially to see Gilbery Domally’s amazing performance. Jointly produced by Haven Theatre and About Face Theatre, it features dummer Christian Moreno on drums, Anthony Rodriguez on winds, Derek Duleba on guitar, and Kurt Shelby on Bass. It’s at the Den Theatre through March 17.

Published in Theatre in Review
Saturday, 10 March 2018 01:45

"Time is on Our Side" is Truly Timeless

About Face Theatre’s Time Is on Our Side is a wonderful play that carries a LGBTQ theme throughout. This might make some people uncomfortable – and for those it does, this play is a must see. The subject matter is very open. The characters are very open. I found it simply charming. The story is truly timeless.

Sexuality has been one of the biggest topics of discussion since the beginning of time. Actually, in many cases, it is the topic of no-discussion. Fears and phobias run amuck when you start talking about sex. The fact that there even needs to be an LGBTQ community is ridiculous. Labeling is only counterproductive to the evolution of our species.

The play starts with two people, Curtis and Annie, producing a podcast to “queer history” that ultimately has them stumble upon a secretive family journal belonging to Annie’s Grandmother that prompts an investigation into the history of the LGBTQ movement. Their examination takes them on a journey down many roads from Rosa Parks to the AIDS Quilt as more and more past events are brought to the open.

Well-written and superbly performed, Time Is on Our Side is a very entertaining play filled with several hilarious moments while also bringing to the surface many thought-provoking topics. The first act set up the second very well. It was full of surprises even though there was some serious foreshadowing taking place. A well-conceived production, director Megan Carney and writer R. Eric Thomas should be proud of their achievement.

“This is a hilarious and deeply personal story,” comments Director Megan Carney. “It brings together rich characters of different generations who share a longing to connect, which makes it such a perfect play for us at About Face Theatre. The play weaves a range of stories in which younger folks uncover their roots and elders pass on what they know. Altogether, a powerful story emerges revealing acts of resistance and queer magic through the decades.” 

Rashaad Hall as Curtis and Maggie Scranton as Annie are outstanding in their roles. Riley Mondragon plays Claudia and plays the role amazingly well. I thought she stole the show until we are introduced to Rene played by Esteban Andres Cruz, who is a true scene stealer. Cruz also shows his versatility by playing another character in the play, as does Mondragon.

I believe the LGBTQ labeling needs to stop so that one day we can just refer to everyone as people. We come in all varieties. What people do is their own business and not and not anyone else’s. The fact that there needs to be a community based on being “different” is unfortunate. What is different? The more you dig, the more you realize how similar we are, not how different.

I wholeheartedly recommend this funny and highly-stimulating play.

Time Is on Our Side is being performed at Theater Wit through April 7th. For more information on this play, visit www.aboutfacetheatre.com.

 

Published in Theatre in Review
Thursday, 26 January 2017 23:34

Review: About Face Theatre's "The Temperamentals"

"The Temperamentals" by Jon Marans makes its Chicago premiere at About Face Theatre. Artistic director Andrew Volkoff revisits this 2009 Off-Broadway play in a critical time for LGBT rights in America. This play was selected for their season long before the election, but serves to remind that the struggle for equality is not over. 

 

"The Temperamentals" refers to a slang term for homosexuals in the 1950s. It tells the true story of the Mattachine Society, the first LGBT rights group in America. Kyle Hatley plays Harry Hay, a closeted college professor working on behalf of gay rights. The Mattachine Society is formed when he meets Rudi Gernreich (Lane Anthony Flores). Gernreich is an up-and-coming designer who escaped the Nazis in Austria. His observations about life under the Third Reich inspires Harry Hay to action. 

 

Maran's script shines in the way it intertwines the historic plotline with authentic relationship dramas between characters. Alex Weisman plays Bob, the promiscuous one, with such sincerity even while cycling through several bit parts. Lane Anthony Flores gives a brave and dynamic peformance as chic European designer Gernreich. Also featuring Rob Lindley and Paul Fagan, About Face has assembled an all-star cast for this vital piece. 

 

Many think that gay activism started at Stonewall, but what "The Temperamentals" documents is the West Coast movement that began in the 1950s. The Mattachine Society was pitched to influential closested homosexuals in Hollywood, like Vincent Minnelli, but failed to garner mainstream interest for fear of blacklisting. Its intention was to decriminalize homosexuality. 

 

Jon Maran's play is sexy and stylish. It echos of Larry Kramer and that's what theater needs right now. It's a nearly three hour wake up call to a generation who takes advantage of the privileges fought for by activism. 

 

Through February 18 at About Face Theatre. Theatre Wit 1229 W Belmont Ave. 

 

Published in Theatre in Review

In 2002, About Face Theater company debuted Doug Wright's play "I Am My Own Wife." It opened on Broadway in 2004, and won both the Pulitzer Prize as well as the Tony award for Best New Play. About Face Theater and director Andrew Volkoff revisit the play twelve years later in an eerily relevant political climate. In it, Wright tells the story of the time he spent in Berlin with Charlotte von Mahlsdorf during the early '90s.

 

Mahlsdorf was the subject of international fame after publishing her autobiography and being awarded the Bundesverdienstkreuz by the German government. Charlotte von Mahlsdorf established The Grunderzeit museum, it housed her collection of historical items spanning decades of German history. Her most unique attribute is that she was a transvestite and managed to survive the nazis and the communists.

 

Playwright Doug Wright turned his interview notes into a mostly one-woman show. His character is played here by Scott Duff and functions as the narrator. Charlotte is portrayed by real life transgender actress Delia Kropp. In little stories about the antiques in her museum, Charlotte reveals more about herself. During both authoritarian regimes, gay people were persecuted. Each item is in some way connected to preserving the history of Germany's lgbt community.

 

Volkoff's production is sleek and well dressed. The lighting design by John Kelly adds a nice dimension to this otherwise minimal staging. Delia Kropp gives a fascinating performance. Charlotte labeled herself as a transvestite and never opted for sexual reassignment surgery. Delia portrays her with soft androgyny. Kropp's authenticity in voice and mannerism is striking. Her lengthy passages of monologue illuminate the imagination.

 

It's by no accident About Face selected "I Am My Own Wife" for their season. As the political tides turn, some lgbt communities are worried their legitimacy may be less certain. Doug Wright's play about Charlotte von Mahlsdorf is a reassuring testament to everyday heros. As his character says in the play, "I need to believe this."

 

Through December 10th at Theater Wit - 1229 W Belmont. 773-975-8150.

 

Published in Theatre in Review
Saturday, 13 June 2015 00:00

Review: Abraham Lincoln Was A F*gg*t

What do Michael Jackson and Abraham Lincoln have in common? Playwright Bixby Elliot explores the parallels between the sixteenth president, the king of pop and the landscape for LGBT youth in his new play “Abraham Lincoln was a Faggot” at About Face Theatre.

Elliot’s play follows two intertwining narratives in an attempt to answer the eternal question: was Abraham Lincoln gay? In the present, there is Cal (Matt Farabee), a high schooler coming to terms with his sexuality while trying to prove Lincoln’s orientation. In the past, there is the supposed story of Lincoln’s homosexual love affairs. In between are Cal’s terrified mother (Jessie Fisher) and uncle (Nathan Hosner) who must traverse the uneasy waters of an older generation’s attitude toward homosexuality.

Director Andrew Volkoff brings together a well-equipped cast for this show. Dana Black’s clowning as narrator, historian and Ellen Degeneres will likely be most remembered. She accents and punctuates nearly every scene and it brings a much needed sense of lightness. Jessie Fisher in a duel role as both Mary Todd Lincoln and Cal’s mother balances  eccentricity and subtlety.

Bixby’s script, even if at times extraneous, has a lot of heart and makes a lot of great points about our media obsessed culture. At first the Michael Jackson musical numbers and background tracks seem strangely out of place, but as the show continues the script points to two lives lived under grueling American scrutiny. The author writes from a much more closeted generation than our current times, but still the struggle to live a life that is true to oneself is the ultimate argument. This essential human necessity transcends race, gender, class and sexuality. The script is well-structured and under Volkoff’s direction, has a real sense of emotional authenticity that could be lost in such an inventive concept.

Through July 5th. At the Green House Theatre Center. 2257 N Lincoln Ave. 773-404-7336

Published in Theatre in Review

 

 

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