Displaying items by tag: American Blues Theater

“No man is a failure who has friends,” is to film what “God bless us everyone” is to literature. Frank Capra’s 1946 film ‘It’s a Wonderful Life’ is as close to an American retelling of ‘A Christmas Carol’ as anyone has ever gotten.

Though the film has been a Christmas classic for nearly 80 years, the stage version has become its own tradition for many theatergoers during the holiday season. It’s likely you can find a production of the stage version in practically any town in the country during December, right next to ‘The Nutcracker.’ For those unfamiliar, the stage version is traditionally performed as a “live radio broadcast.” Meaning, the actors play voice actors performing a “live” production of a radio play, including old-timey sound effects.

American Blues Theater has been bringing this tradition to Chicago for 23 years! They’ve turned their new permanent home on Lincoln Ave into a quaint, 1940s era radio studio for the month. Audiences get a glimpse into the past and in addition to learning the true meaning of Christmas, they’ll see how radio dramas were produced. 

An all-around great cast led by Brandon Dahlquist and Audrey Billings brings the story of suicidal, down-on-his-luck George Bailey to life in a quick, charming 90-minute production. The cast will certainly help you get into the spirit with a few rounds of Christmas carols before the show gets going.

What really works about this interpretation of ‘It’s a Wonderful Life’ is that it gets right to the point. Parts of Capra’s black and white film feel a bit drawn out, and that can distract from the heartbreaking and bittersweet moments in the script. Here, emotion is mined in a more immediate way. However, for those who have not seen the film, this version is pretty easy to follow.

Whether you’ve seen ‘It’s a Wonderful Life’ once, or 22 times, each year American Blues Theater makes it feel new. Year to year faces change and little embellishments are added, so that it always feels fresh for a new generation.

Through December 22 at American Blues Theater. 5627 N Lincoln Ave. (773) 654-3103.

American Blues Theater announces its 23rd Annual Production of It's a Wonderful Life: Live in Chicago! from Frank Capra's film and directed by Executive Artistic Director Gwendolyn Whiteside with musical direction by Ensemble Member Michael Mahler. It's a Wonderful Life: Live in Chicago! will run November 29-December 22, 2024. The press opening is Sunday, December 1 at 2:00pm.

Tickets are on sale at www.americanbluestheater.com or by calling (773) 654-3103.

George Bailey – the Everyman from small town Bedford Falls whose dreams of escape and adventure were stopped by family obligation and civic duty – has fallen onto desperate times. Only a miracle can save him from despair. Filled with original music and classic holiday carols, this warm "holiday favorite makes the bell ring every time." (Chicago Tribune)

For almost 25 years, American Blues has treated audiences to a live retelling of the Frank Capra classic in a 1940s radio broadcast tradition, making It's a Wonderful Life: Live in Chicago! the second longest-running holiday play in Chicago! 

Executive Artistic Director Gwendolyn Whiteside comments, "Nearly a year ago, American Blues Theater welcomed audiences to its first permanent home with this holiday favorite. Since then, the venue has been alive with Misery, The Last Wide Open, The Reclamation of Madison Hemings and countless special events and programming. We have seen decades-long loyal stalwarts of American Blues, along with our new neighbors who have joined us for the first time. We look forward to sharing this year's production in our new home, in a neighborhood that has been so supportive and welcoming to us."

The 2023 creative team and cast is returning to this year's production, including Audrey Billings* (Mary Bailey), Manny Buckley* (Joseph), Dara Cameron* (Violet), Ian Paul Custer* (Harry), Brandon Dahlquist (George Bailey), Joe Dempsey* (Clarence/Mr. Potter), Michael Mahler* (Announcer / Pianist), and J.G. Smith*. The understudies and Mackenzie Jones and Zack Shultz.

The creative team includes Gwendolyn Whiteside* (director), Michael Mahler* (music direction & jingle composer), Austin Cook* (original score), Grant Sabin* (scenic), Katy Peterson Viccellio (lights), Christopher J. Neville* (costumes), Elyse Dolan* (set dressing & props), and Michael Trudeau* (technical director & master electrician).

 *Denotes Ensemble member or Artistic Affiliate of American Blues Theater

FRANK CAPRA (May 18, 1897 – September 3, 1991) was an Italian-born American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Among his leading films are It Happened One Night (1934), Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939). During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films. After World War II, Capra's career declined as his later films, such as It's a Wonderful Life (1946), performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably by critics. Capra was nominated for six Academy Awards and won three. His films collectively garnered 53 Academy Award nominations between 1933 and 1961. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head of the Directors Guild of America. Frank Capra married twice and had four children. One of his sons, Frank Capra Jr., and grandson Frank Capra III have both made their careers in the film industry.

GWENDOLYN WHITESIDE (Executive Artistic Director/Director) is an Ensemble member of American Blues Theater and has served as Executive Artistic Director since 2010. In her tenure, she created the nationally-recognized Blue Ink Playwriting Award and new work development program, implemented community service into the company's mission, and adapted the arts education programs. She led American Blues through its reorganization in 2009, building the operational budget from zero to $1 million. She secured the company's first-ever operating reserve, endowment, and permanent home. Whiteside served on numerous panels for the National Endowment for the Arts and Board of Directors for Network of Ensemble Theaters and League of Chicago Theatres. She's a graduate of Northwestern University (BS), The School of the Art Institute of Chicago (MFA), and a Kellogg Executive Scholar in Nonprofit management (Kellogg School of Management, Northwestern University). As a producer, she's received 16 Joseph Jefferson nominations or awards. As an actress, she's received 5 Joseph Jefferson Awards, Citations, and nominations; 2 After Dark Awards; and 1 Broadway World Chicago Award.

AUDREY BILLINGS (Mary Bailey) is an Ensemble member of American Blues Theater. Audrey was most recently seen as Emilie in the Jeff Award winning production of The Moors at A Red Orchid Theatre and Samantha in the American Blues' reading of 17 Minutes. Previous credits include: Christmas Eve in the long-running production of Avenue Q at the Mercury Theater, Mary Magdalene in Jesus Christ Superstar, Antonia in Man of la Mancha, and Hodel in Fiddler on the Roof. She has worked at the Paramount Theatre, Marriott Theatre Lincolnshire, Drury Lane Oakbrook, Theatre at the Center, Lookingglass Theatre Company and is a proud member of Actor's Equity. 

MANNY BUCKLEY (Joseph) is an Ensemble member of American Blues Theater. He is a Chicago based actor, director, and writer. Directing credits include Seven Guitars (City Lit Theater), Driving Miss Daisy, The Bad Seed (Jedlicka Performing Arts), Kingdom, an audio play (Broken Nose Theatre), Uhuru, Cane, Origin Story, Mother of Pearl and The Reapers On Woodbrook Avenue (Blue Ink Festival), multiple short plays in the Ripped: The Living Newspaper, #ENOUGH: Plays to End Gun Violence, and The One Minute Play Festival. Acting credits include work with Chicago Shakespeare, Steppenwolf, Goodman, Court, Victory Gardens, Chicago Dramatists, Next Theater, House Theatre, Shattered Globe Theater, Cincinnati Children's Theatre and Studio Theatre. Manny has numerous credits with American Blues Theater, including his critically-acclaimed, award-winning solo performance in Looking Over the President's Shoulder. Film credits: Proven Innocent, Chicago Fire, Chicago PD, The US Navy, Northwestern University, and The Onion. He has received nominations for the Joseph Jefferson Award, the Helen Hayes Award and the 3Arts Award; he is the recipient of both a Black Theater Alliance Award and Black Excellence Award. Mr. Buckley was recently seen in American Blues Theater's sold-out production of Fences, The Reclamation of Madison Hemings, and annually in American Blues' annual production of It's a Wonderful Life: Live in Chicago!

DARA CAMERON (Violet) is a proud Ensemble member of American Blues Theater. Favorite credits include The Last Wide Open, It's a Wonderful Life: Live in Chicago!, The Spitfire Grill (Jeff nomination) and Little Shop of Horrors (American Blues Theater); Old Jews Telling Jokes (Royal George and Off-Broadway); The Secret of My Success (Paramount Theatre); Elf, Hero (Jeff nomination), South Pacific, October Sky, Sister Act, City of Angels, Cinderella, The Wizard of Oz, Fiddler on the Roof (Marriott Theatre); Addams Family (Mercury Theater); Dirty Rotten Scoundrels (Theatre at the Center), and Sunset Boulevard, Seussical, and Buddy – The Buddy Holly Story (Drury Lane Theatre). She is a graduate of Northwestern University and a member of Actors' Equity.

IAN PAUL CUSTER (Harry) is a proud Ensemble member of American Blues Theater and Chicago actor and musician. American Blues credits include: Buddy: The Buddy Holly Story (Jeff Award, Best Ensemble, Best Musical – Midsize), The Columnist, Little Shop of Horrors, and It's a Wonderful Life: Live in Chicago! (Jeff Nominations for Best Play/Musical of the Year).  Chicago credits:  Bad Jews (Theatre Wit/Royal George), 33 Variations (Jeff Award– Best Production, Midsize), and To Master the Art (TimeLine Theatre), Annie Bosh is Missing (Steppenwolf Theatre), High Holidays (Goodman Theatre), Fiddler on the Roof (Lyric Opera).  Ian has also had the pleasure of working with Porchlight Music Theatre, Marriott Theatre, A Red Orchid Theatre, MPAACT, Paramount and Court Theatre.  Regional credits: Hero: The Musical (Asolo Rep Theatre), Cymbeline (Notre Dame Shakespeare), Romeo and Juliet (Cardinal Stage), Peter Pan (360 Entertainment - London, England).  Television credits: Somebody Somewhere, APB, Empire, Chicago Fire, and Chicago PD. Ian received his BFA from The Theatre School at DePaul University.

BRANDON DAHLQUIST (George Bailey) is happy to return to Bedford Falls for his 8th season. He was nominated for Joseph Jefferson Award for performance (short run) of George Bailey. Chicago theatre credits include: Sound of Music (Marriott Theatre), Secret of My Success (Paramount Theatre), Miracle the Musical (Royal George), A Little Night Music, Arcadia, Oh Coward (Writers Theatre), Cabaret, Meet Me in St. Louis (Drury Lane), Sunday in the Park with George, Assassins (Porchlight). Broadway and Regional credits include: Bronx Bombers (Circle in the Square), As You Like It (Guthrie Theatre), The Glass Menagerie (Milwaukee Repertory), A Little Night Music, 1776 (A.C.T.), Shakespeare in Love, Rhinoceros, 1776 (Asolo Repertory), Dogfight, City of Angels (S.F. Playhouse), 12 Angry Men (Maltz Jupiter Theater), Sunday...George, Murder on the Nile, Lombardi (Peninsula Players). TV credits include: A League of Their Own (Amazon), The Chi (Showtime), Difficult People (Hulu), Chicago PD (NBC). Dahlquist is also a busy photographer and full-time dad. 

JOE DEMPSEY (Clarence/Mr. Potter) is an Affiliate of American Blues Theater where he has appeared in Scapin and Pledge of Allegiance. He also has acted at Lookingglass, Goodman, Steppenwolf, Northlight, Court, Chicago Shakespeare, Drury Lane Oak Brook, and Paramount and many other Chicago theatres as well as regionally at Milwaukee Rep, St Louis Rep, Centerstage (Baltimore), and City Theatre (Pittsburgh). TV work includes Somebody Somewhere, Chicago Fire, ER, and Early Edition and film work includes several indies you've never seen.

MICHAEL MAHLER (Music Director, Announcer/Pianist) is an Ensemble member of American Blues. Past Blues productions: The Last Wide Open, Buddy – The Buddy Holly Story (Jeff Award – Best Music Direction), Little Shop of Horrors, Hank Williams: Lost Highway, and Side Man. Other recent roles include The Baker in Into the Woods (Writers); Jim Hardy in Holiday Inn, and Jack Singer in Honeymoon in Vegas (Marriott Theatre). Michael co-wrote the songs for the Netflix movie My Little Pony: A New Generation and contributed additional lyrics to Cameron Mackintosh's most recent Broadway production of Miss Saigon. Other works as a composer/lyricist include The Secret of My Success, Miracle (Jeff Award – Best New Work), Diary of a Wimpy Kid, October Sky, The Man Who Murdered Sherlock Holmes (Jeff Award – Best New Work), and Hero (Jeff Award – Best New Work). Michael is married to fellow Ensemble Member Dara Cameron and proud father to their son Ezra.

J.G. SMITH (Foley) is an Ensemble member of American Blues. She has performed with Blues in The Last Wide Open, It's a Wonderful Life: Live in Chicago!, On Clover Road, Ripped, and virtual readings of The Thanksgiving Play, On the Greenbelt, and The Cratichits (in America). Theatre: I And You (Peninsula Players); Mother of the Maid (Northlight); Plantation! (Lookingglass); The Art of Sisters (Vision Productions); MARYSHELLEYSHOW (National Tour, Chicago Fringe, TheTankNYC); Peter and the Starcatcher (City Equity Theatre); Alice in Wonderland, As You Like It, King Lear, A Christmas Carol (Alabama Shakespeare); and Censored on Final Approach (The GYM at Judson). Film/TV credits include Jennifer Reeder's Knives and Skin, MTV's Short Comings, The Dancing Monkey, Dreaming Grand Avenue, Pry Me Open, and Dorm Therapy. Her original films and performance art have shown at New Orleans' Hell Yes Film Festival, Williamsburg Circus, Salonathon!, Undiscovered Countries: The Infinite Fest, and TransVisions' virtual SOFT PALETTE festival.

Fact Sheet It's a Wonderful Life: Live in Chicago!

Title:  It's a Wonderful Life: Live in Chicago!

Adapted From: Frank Capra's Film

Director: Gwendolyn Whiteside*

Music Director and jingle composer:   Michael Mahler*

Score composer:  Austin Cook*

Featuring: Audrey Billings* (Mary Bailey), Manny Buckley* (Joseph), Dara Cameron* (Violet), Ian Paul Custer* (Harry), Brandon Dahlquist (George Bailey), Joe Dempsey* (Clarence/Potter), Michael Mahler* (Announcer / Pianist), and J.G. Smith* (Foley).

Creative Team: Grant Sabin* (scenic), Katy Peterson Viccellio (lights), Christopher J. Neville* (costumes), Elyse Dolan* (set dressing & props), Michael Trudeau* (technical director & master electrician).

*Ensemble member or Artistic Affiliate of American Blues Theater

Dates: November 29 – December 22, 2024

Schedule:                    

Thursdays:     7:30pm (no show on Thanksgiving)   

Fridays:         7:30pm

Saturdays:     4:30pm & 7:30pm

Sundays:       2:00pm

The runtime is 90 minutes. Arrive 15 minutes before curtain for a fun interactive pre-show.

Location: American Blues Theater, 5627 N Lincoln Ave, Chicago

Ticket prices: $30-$75, plus a $4.50 ticket fee

Six VIP tickets are available per performance for an added $15 per ticker order. VIP seating includes complimentary parking, leather chairs in a dedicated area, and bar service to your seats.

Box office: Buy online at www.americanbluestheater.com or by calling (773) 654-3103.

• In the long tradition of honoring heroes during the run of It's a Wonderful Life, American Blues will honor a teacher at each performance with a "Teacher Tribute." Nominations are accepted at www.americanbluestheater.com. Selected recipients will receive complimentary tickets to a performance of It's a Wonderful Life and a live tribute during the show.

• American Blues proudly partners with NAMI Chicago, USO, and the U.S. Department of Veteran Affairs. Complimentary tickets are offered to CPS teachers, the American Foundation of Suicide Prevention (IL chapter).

• The cast will be performing at the Chicago Thanksgiving Day Parade.

• Santa is scheduled to visit American Blues Theater on December 22, 2024.

About American Blues Theater

Winner of the prestigious National Theatre Company Award from American Theatre Wing (Tony Awards). American Blues Theater is an Ensemble of artists committed to producing new and classic American stories that ask the question: "What does it mean to be American?"

The diverse and multi-generational artists have established the second-oldest professional Ensemble theater in Chicago. As of 2024, the theater and artists received 238 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 44 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades. 

I’ve often said despite the larger houses producing August Wilson plays, they tend to work better in intimate spaces. After all, Mr. Wilsons’ inspiration came from intimate settings. He would write in bars, cafes, restaurants, and other places where his characters would be right in his face. He would often write long hand and sometimes on napkins to make himself invisible as a writer. It was important for him to catch the dialect, the accents, and the energy of his characters. Mr. Wilson began his career writing for small theaters, schools, and community centers where space was at a premium.

American Blues minimalist production of “Fences” under the direction of Monty Cole is powerful, bold, and beautiful. I love when theaters take chances. No guts, no glory….and there is plenty of glory here.

To contain the largest of emotions within boundaries, Scenic designer Yeaji Kim has created a huge, whitewashed fence reaching the heavens on both ends of the playing area. On the north end it appears to still be under construction. On the south end there is a door leading into the house while when closed is unnoticed. There are 5 cushions for players to be seated when they are not on stage. There are 60 chairs in total on either side of the playing area. It’s akin to a baseball field. The characters are so close you can count the beads of sweat on their brow, their emotions so big, no regular sized fence was going to hold them in.

We get up close and personal with Troy Maxson. Kamal Angelo Bolden’s Troy was not encumbered by anyone who previously played this role. This Troy was much more complicated than I’ve ever seen, FULL STOP. At varying times, this Troy showed love, he showed anger, he showed fear, he was a child, he was a monster, but most of all he showed a vulnerable side. It’s the vulnerability the audience connected with. Despite his ugliness, his meanness, and boorish ways if we look deep into his eyes, we see a man hurt. We see a man who values work more than education. In those rare moments of silence, we see what could have been, and our hearts ache for him.

Playing opposite Troy is the hard-working Rose, his wife of 18 years. She knows this man; she has built her life around him. She soothes over his relationships with his sons.  She is the heart and soul of this family. She cooks, she cleans, she loves. She is saint like in her patience with Troy until she isn’t. We see mini eruptions until it grows too much to control until she loses herself or does she find herself.  Shanesia Davis’ beautifully understates Rose until she can’t anymore. It is some beautiful theatre having a front seat to her emotional build.

A man like Troy Maxson needs all the support he can muster, and no one does it better than his friend and confidant, Bono, engagingly played by Martel Manning. No one could question Troy about his dalliance except Bono. Manning brilliantly steps into the lion’s den and raises the issue. I loved the way his mannerisms changed when talking to Troy about “that gal”.

Troy’s two sons born a decade apart, to two different women are Cory, energetically played by Ajax Dontavius and Lyons, the charismatic William Anthony Sebastian Rose II. Troy treats both men the same the only difference is Cory lives in his home, so he has more control over him.  He verbally abuses Lyons. Special shout-out to Charlie Baker, the Fight & Intimacy Director. Unbelievable stagecraft. The fights and intimacy looked awful real. I almost ducked when Cory was swinging the bat.

Rounding out this family is Gabriel, Troy’s brain damaged brother, played with wonderful control by Manny Buckley. I loved how tight and controlled Buckley played Gabriel. He played the character with great respect for brain damaged people without forfeiting characterization. Gabriel sees what we can’t see. He feels what we can’t feel. Buckley expressed this perfectly.

Stephanie Cluggish’s costumes suggested the times. I especially like what she did with Rose’s funeral outfit. Very inventive.

This production had an air of spirituality, of otherworldliness, I’ve never seen before. This was largely the result of Jared Gooding’s lighting design.  It worked beautifully

In Wilson’s N.Y. Times obituary, he is quoted as telling the Paris Review: “I think my plays offer (white Americans) a different way to look at black Americans. For instance, in ‘Fences’ they see a garbageman, a person they don’t really look at, although they see a garbageman every day. By looking at Troy’s life, white people find out that the content of this black garbageman’s life is affected by the same things – love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with black people in their lives.”

Yeah right, let’s hope this is true. In any case, American Blues Theater and Monty Cole has put these characters on full display with all the fury and might deserving of them and a weary America thanks you.

“Fences” runs through Aug. 6 at Theater Wit, 1229 W. Belmont. For tickets visit americanbluestheater.com or phone (773) 975-8150.

I came into the American Blues Theater for its Chicago revival of Buddy: The Buddy Holly Story a bit apprehensive. See, I’m a Buddy Holly superfan. Seriously. I’ve got a couple tattoos inspired by the rock legend, I once even wrote an entire novel about him (which nobody can or will read…not just yet), and I know his story and his music about as geekily and obsessively as a guy could. So, having a special spot in my heart for this legend who’d been gone for decades by the time I came along, I’m often very critical of cultural (mis)representations of Charles Hardin Holley, including a traveling tour of the same show I saw back in college.

Partly my apprehension is because of the many things that the show (and the 1970s Hollywood biopic that jumpstarted the career of Gary Busey) gets factually wrong. Thing is, most biographical jukebox musicals do the same for their subjects, as they need to manufacture drama and condense a life’s story (even a life cut as short as Buddy’s). But mostly it’s because every portrayal I’ve seen of Buddy falls into the same trap that other impersonations do. They all rely on caricature, on the obvious, instead of something that’s more fulsome and true.

But I promise you, rock ‘n’ roll fans, that the American Blues Theater’s current production of Buddy skirts these traps, instead providing an honest and beautiful portrayal of Holly’s lifework, while also showing the audience a rollicking good time.

The key to the show, of course, is Buddy. Playing the part of the young Texan is Canadian Zachary Stevenson. A veteran of this show (and others, including Million Dollar Quartet, from the same era), Stevenson knows the material and the man. It shows from the get-go, as Buddy’s early vocal and guitar performances are hesitant, if youthfully energetic. That youthful energy is kept up for the whole show (a must, since Holly was just 22 when he died), but Stevenson also gives us a Buddy who comes into his own as a singer, a songwriter, a guitarist, and a man. And while the twang and hiccups he includes in Buddy’s performances are there, as they must be, he doesn’t rely on these tics and tricks. Instead, Stevenson’s Buddy has a warm, beautiful voice, and serenades us (and his castmates) with tender ballads, as well as toe-tapping rockers. This Buddy isn’t just an impersonation with a drawl and a pair of black-rimmed glasses hastily slapped on. Zachary Stevenson’s Buddy is a labor of love.

But the rest of the cast, directed by Lili-Anne Brown, labor lovingly, as well. The theater’s intimate, and the performers all play their instruments and sing their songs up close and in view of the audience. Shaun Whitley (himself a veteran of Million Dollar Quartet, with almost 2,000 performances as Carl Perkins under his belt) holds down the Crickets’ low end, slapping the upright bass (and even riding it at one point!), while also providing vocal harmonies and even playing violin on a couple softer numbers. The Crickets’ drummer is played by Kieran McCabe, who provides the groove and youthful energy. A fourth Cricket is played by Michael Mahler, who is also the production’s music director, directing the rest of a ridiculously multi-talented cast.

And that cast really does everything, from playing the important roles in Buddy’s life to playing the soundtrack of his life. Liz Chidester lights up the stage whenever she’s on it, first as Vi Petty, the wife of Buddy’s producer, tickling the keys of a celeste on Buddy’s beautiful “Everyday,” before adding boogie-woogie piano on several songs, and energetic dancing to several more. Derek Hasenstab plays the part of Vi’s husband Norman, but also picks up the bass and the guitar for many other songs. Molly Hernandez is alluring as she plays Maria Elena, the woman who enjoyed a whirlwind romance with Buddy and a tragically short marriage to him, as well. And Vasily Deris and Cisco Lopez are right on as the two stars – The Big Bopper and Ritchie Valens – who accompanied Buddy on his final tour and on that final flight that ended in an Iowa cornfield in 1959.

Those famous names you probably know are not the only talent to grace the American Blues stage, however. It seems that all of the cast are multi-instrumentalists and very talented vocalists. Ian Paul Custer spreads the news as Buddy’s early champion, DJ Hi Pockets Duncan, while also playing the saxophone and piano. Chuckie Benson and Kiersten Hodgens get the crowd jumping and shouting at the famous Apollo Theater before an early and iconic Crickets concert there. And Ann Delaney, Daniel Riley, and Lauren Vogel round out this exceptional ensemble, playing multiple roles, singing acapella doo-wop, and helping tell Buddy’s story and play his songs.

And it’s those songs – from early Western numbers like “Blue Days, Black Nights” and “Rock Around Ollie Vee” to Buddy’s hits “That’ll Be the Day” and “Peggy Sue” and “Oh Boy” to later more mature fare (mind you, all of this output and growth was done in less than two years, a fact the show hammers home) such as “Words of Love” and “Raining in My Heart” and “True Love Ways” – that best tell the Buddy Holly Story. A story of talent and tragedy. A story of youthful rebellion and musical growth. And, as the last of those tunes shows when Stevenson plays it solo on an acoustic guitar for his pregnant wife on their living room couch before he leaves for his fateful final trip, it’s a story told warmly and lovingly and truthfully.

Buddy: The Buddy Holly Story is being performed at Stage 773 through May 26th. For more performance information, visit americanbluestheater.com. 

*Now extended through September 15th

Having read that Six Corners was the “third in a loose Cop trilogy” by playwright Keith Huff, I was concerned that not seeing the first two stories (A Steady Rain and The Detective’s Wife) would lessen my experience. But from the moment I entered the theatre the stage was set, both literally and figuratively.

Thanks to the realistic set design, I was transported from a theatre to the Six Corners Police Precinct to watch this mystery unfold. The use of lighting to move the story between locations was especially effective as it simulated the fluorescent lights of the police station or the dimly lit bench at the bus station. The incorporation of a moving wall, however, was too complicated and not essential. That it failed during the show causing a disruption should be a signal to the creative team that it should be removed rather than risking another distraction. In my opinion, the pacing improved without it.

The opening scene brought the precinct to life, as we looked in on Detectives Nick Moroni (Peter DeFario) and Bernadette Perez (Monica Orozco), two burnt-out cops feeling the stress of failing marriages, being absentee parents, and being cops; not to mention the sexual tension between them. With a fast-paced verbal exchange full of both insults and empathy, it was clear that these two detectives were not looking forward to another late night dealing with the murder of a CTA employee. Relying on ethnic stereotypes of a chest-beating macho Italian and a fast-talking fiery Latina switching between English and Spanish, the actors’ portrayals were at times cartoonish as they overacted to earn some laughs. I assume this was intentional direction, and not the actors taking license.

In subsequent scenes we join the detectives as they investigate the crime by interviewing the only two witnesses, Carter Hutch (Manny Buckley) and Amanda Brackett (Brenda Barry), as their stories slowly unravel. Are these two witnesses really just strangers in the wrong place at the wrong time? Can they convince the detectives (and the audience) that they truly were Good Samaritans? Buckley and Barry portrayed their characters with emotional honesty and integrity. They were believably sympathetic as they displayed a nervousness and uneasiness that you might feel after witnessing a murder. Barry stood out to me for her portrayal of the struggling pregnant late-night waitress.

Intertwined with the murder investigation, we see a backstory develop as the show travels back in time. We are at the bus stop where an 8-year-old girl, Katie Yates (Lyric Sims), is alone after being separated from her mother. She encounters a stranger, a transient, BJ Lyles (Byron Glenn Willis) who she innocently befriends. Sims’ portrayal of 8-year-old Katie Yates was perfectly on point bringing an innocence to the child that felt real. While Willis adeptly portrayed transient BJ Lyles as a sympathetic character, he still gave the audience reason to mistrust his character as he got eerily close to the vulnerable child.

As the Backstage Guide reveals, the writer is influenced by CPD’s reputation for disregarding civil rights, inequality in treatment of female police officers, the blue code of silence, and the lack of public trust.

Throughout the story, the writer subtly weaves in evidence of unconscious bias and inherent racism. At the same time, he develops characters who are outwardly sympathetic even as their faults, deceptions and corruptions are exposed.

In spite of my criticisms, I enjoyed and am recommending this play, directed by Gary Griffin. The story line is well conceived and presented. More importantly, the subtext is both thought provoking and relevant.

Winner of the Edgegerton Foundation New Play Award, American Blues Theater’s production of Six Corners by Keith Huff runs at Stage 773 through March 24, 2018. 

Most of us have seen Frank Capra’s “It’s a Wonderful Life” at some point in their lives. Whether a Holiday tradition or by happenstance as television stations run their yearly marathons, there’s a very good chance you have experienced the heartfelt 1946 film classic starring James Stewart and Donna Reed. We have since seen many stage adaptations, from live radio broadcasts to large scale productions. In American Blues Theater’s “This Wonderful Life” written by Steve Murray we get an entirely different spin on this definitive piece of Americana as American Blues founding member James Leaming boldly takes on each character in the film himself in this brilliant one-man show.

For the small percentile of those who are not familiar with “It’s A Wonderful Life”, the story revolves around George Bailey during the late 1930’s through early 1940’s, taking place in the small town of Bedford Falls. The evil Mr. Potter runs the biggest bank in town and has most of its residents and small business owners in the palm of his hand. The only person to stand in his way is Pa Bailey, George’s father, who runs a small building and loans company where people can obtain funds for housing without paying exorbitant interest to Potter. George has high expectations for himself and plans to see the world while working for National Geographic once he finishes high school. After his stint around the world, George would return for college and proceed to live to his fullest potential. George’s life then takes another turn for the better when he meets Mary, his true soul mate. Though his father wants George to take over the building and loans one day, George is adamant that he wants to pursue bigger things and rejects the offer.

All is well for George until his father dies, leaving the building in loans in a state of flux. George agrees to take over temporarily, but soon finds he is needed permanently much to his chagrin. Married to Mary with a handful of kids, life is still fulfilling for George until the bank calls a loan and the money is missing. Instantly put into state of desperation, George comes to the realization that he is better off dead than alive after summing up his life to the worth of a life insurance policy. It is then that Clarence, an angel from Heaven, is sent down to help George get back on track. George wishes he was never born and Clarence grants that wish showing George what life would be without him in Bedford Falls. George is shown the positive affect that he has had on so many people, eventually seeing that he had a pretty wonderful life after all. It becomes a Christmas to remember when George's friends rally to his aid.

So that’s the gist of it.

It is a story over humanity overcoming hopelessness, a story of giving and the importance of friends. After all, as Clarence says, “No man is a failure who has friends.”

In “This Wonderful Life” James Leaming is nothing short of brilliant as he retells the famous classic, acting out each character from beginning to end. Throughout, Murray’s script adds a healthy pinch of additional humor that takes occasional jabs of the film in a fun-loving way. With a handful of very creative props and a backdrop that displays images of the story, Leaming is able to successfully pull off each character he tackles (especially his Mr. Potter and George Bailey) to give the audience a cohesive, engaging and highly entertaining theatre experience. Leaming’s ability to shift from character to character so effortlessly and so convincingly is a testament to his fine acting skills. Whereas one moment he seemingly channels the deep seeded bitterness and craftiness of Lionel Barrymore’s Mr. Potter, his ability to so quickly change gears to become the warm, likeable George Bailey or scatter-brained Uncle Billy is simply impressive.

This play is Jeff Recommended for good reason as Leaming’s performance is something to behold. Whether you’ve seen “It’s A Wonderful Life” via film or stage, it is unlikely you’ve seen a unique version such as this.

Skillfully directed by Carmen Roman, “This Wonderful Life” is highly recommended as a holiday treat the whole family can enjoy.

“This Wonderful Life” is being performed at The Edge Theater (5451 N Broadway) in Edgewater and is running through November 26th. For more show information visit www.americanbluestheater.com.

Never has a play about journalism, the presidency and Cold War with Russia seemed more relevant than now. And The Columnist, performed by The American Blues Theater at Stage 773, is all of that and more. In a story that could have easily been set during today’s heated political environment, The Columnist is a scintillating tale of family, power, betrayal and personal struggle.

Written by the Pulitzer and Tony award-winning author David Auburn and directed by Keira Fromm, The Columnist is based on real-life journalists Joe Alsop (Philip Earl Johnson) and his brother Stewart Alsop (Coburn Goss). Once a power writing duo, the play begins with Joe, now one of America’s most influential columnists - both feared and beloved, caught in a revealing and compromising position in a Moscow hotel.

That affair and its consequences runs like an undercurrent throughout the entire play as we see Joe battle for power, his ideas on what American exceptionalism entails and how the president (both John F. Kennedy and Lyndon Johnson) should achieve it no matter the costs. We also see his struggle to keep his private life separate from the illusion he creates for the public.

Johnson is exquisite and brilliant in the role of Joe Alsop and very capably humanizes such a towering political figure of the time.

Joe is a man who loves his country and family with equal and blinding passion but in the rapidly changing world of the 1960’s, against the backdrop of the Vietnam war, his inability to see beyond his own beliefs pushes away those closest to him. He manages to alienate even some of his most ardent admirers and colleagues.

However, despite the growing distance between Joe and his family – his perfectly cast, dutiful and charming wife Susan (played by the equally charming Kymberly Mellen), his precocious stepdaughter Abigail (Tyler Meredith) and his sincere and loyal brother Stewart, what is conveyed even at some of his lowest points is how much they still love him despite his many flaws.

Stewart and Abigail are perhaps two of Joe’s most pivotal relationships. Several key moments come when they both show not only how much they understand him, as well as what drives him, but also their acceptance of the contradiction of his public figure and private life. This understanding and acceptance comes even though they often disagree with his passionate defense of the war as well as his methods of squashing the dissenting views of fellow journalists. Both Goss and Meredith play their roles with such depth and nuance that it’s easy to feel their characters’ compassion for such a complex man.

The ability of Auburn to delve so deeply into these relationships and to keep the plot moving at the fast pace of an intriguing spy novel is impressive. Also, very impressive and effective is the staging and the way several of the more dramatic moments are highlighted, especially during transitions. After several poignant and emotional scenes, having Joe stand in a single spotlight as the darkened set changes behind him is a powerful effect, and whether intended or not, is a reflection of the often-tumultuous changes happening in his life.

The creative team for The Columnist: Joe Schermoly (scenic design), Christopher J. Neville (costume design), Jared Gooding (lighting design), Christopher Kriz (original music and sound design), Alec Long (props design), Sarah E. Ross (production manager), Eva Breneman (dialect coach), Sara Illiatovitch-Goldman (dramaturg), and Dana M. Nestrick (stage manager), does an amazing job of enhancing an already powerful script and showcasing as Joe says: “human intercourse at its sublimely ridiculous.”

Highly recommended

American Blues Theater’s The Columnist runs through April 1, 2017, at Stage 773, 1225 W. Belmont. Tickets are available in online at americanbluestheater.com.