Displaying items by tag: Chicago

There’s something about a good mystery that keeps us engrossed. Maybe it’s the colorful suspects, maybe it’s the dissecting of clues involved, maybe it’s our own morbid curiosity that comes with murder - after all isn’t Forensic Files still one of the most watched TV shows? We like the detective work, plain and simple – the search for motive and opportunity and the gathering of evidence. And we certainly like the thought that everyone in the room is a suspect, no matter how unlikely they might seem. There’s a reason that Shear Madness has been running for forty years and is now one of the longest running non-musical plays ever (the whodunnit The Mousetrap leads all stage productions with the longest ever run). Well, amateur detectives, get ready because there’s been another murder in Chicago and your help is needed to solve the case. Once a mainstay in Chicago from 1982 through 1999, Shear Madness has returned, this time making its temporary home at Mercury Theater.

Taking place inside Shear Madness, a Chicago salon, life seems normal for the most part until the landlady upstairs is brutally murdered – stabbed repeatedly with a pair of – guess what - shears. But fortunately, Detective Nick Rossetti (Joe Popp) has been working undercover and is on the scene and through a bit of interrogation and deducing we find that everyone has a motive. Suspicion runs rampant as accusations fly everywhere and it soon becomes clear – the audience will need to help in bringing the killer to justice.    

Like in any engaging whodunnit, Shear Madness gives us a handful of intriguing characters and though the play starts off a bit sluggish to the point where one asks themselves where the story could possibly be going, the excitement quickly accelerates once the murder occurs and its direction is no longer in question. After a few scenarios are tossed around onstage, Detective Rossetti asks the audience to participate as the cast reenacts everything that had happened prior to the murder with as much detail as possible. If something is amiss or does not match what had actually happened, theater goers are invited to call out the discrepancy to help the detective put the pieces together. We are then encouraged to toss out any theories we might have to Detective Rossetti during the intermission where he makes himself readily available, at the same time we prepare questions to ask the play’s characters once the second act begins. Yes, we get to interrogate the suspects.

Best put, Shear Madness is just plain old fun. It’s a hilarious show that gives us a chance to crime solve along with the detective, some of its funniest moments the participation between audience and cast. Also entertaining are the many references to Chicago and several jokes that have been updated to include todays politics and pop culture. Sure, some of the humor is dated. The show was created in 1980. But it works – and works well. Thanks to Warner Crocker’s well-piloted direction and a superb cast that works well together and can also seamlessly interact with the audience on the fly, we see that funny is funny no matter when it was written so long as it’s delivered well. And no one was off limits. Touching on famous personalities from Taylor Swift to Bill Clinton to Joe Biden to Rod Blagojevich to dot, dot, dot, the play certainly takes its share of swipes. And while some of its jokes might be geared to ruffle a few feathers, the audience clearly takes them as just that – jokes. Even in its more contrived moments where predictable humor is used, a laugh is usually found. In the end it’s a silly comedy, not a show to be taken seriously, and lord knows we could all use a laugh or two.

The show does get a boost from audience involvement and even some good-natured heckling, but it naturally relies heavily on its cast. Ed Kross is a sheer delight to watch as Tony Whitcomb, the flamboyant salon owner, both his well-timed innuendos and physical comedy garnering one laugh after another. Mary Robin Roth as Mrs. Schubert also has many scene stealing moments as does David Sajewich as “used antique dealer” Eddie Lawrence while Brittany D Parker’s Barbara DeMarco hits the mark, as well. Detective Rossetti’s partner Mikey Thomas is played well by Sam Woods to round out an overall solid cast. Joe Popp as Detective Nick Rossetti is perhaps the most noteworthy of the bunch, as his character is kind of the glue that holds everything together in this production. As theater goers bounce one question or theory off the detective (sometimes with spot on observations and often quite absurd), Popp impresses repeatedly never wavering from his character and never absent of a quick, often humorous, response.

Shear Madness is also a play that can be enjoyed more than once. The story has four possible outcomes based on how the audience votes, and even if one gets the same outcome twice, you can be sure the audience participation will differ each and every time.

A unique theatre experience that has the audience laughing as much as it has them guessing, Shear Madness breaks down the fourth wall and delivers two one-of-a-kind fun-filled hours.

Shear Madness is being performed at Mercury Theater through March 29^th. For tickets and/or more information visit www.MercuryTheaterChicago.com.           

Each season Joffrey Ballet Company presents a show comprised of works of various influential artists; this winter’s repertoire is a worldly combination of five works by four contemporary choreographers: British-born Christopher Wheeldon’s Commedia, Israeli choreographer Itzik Galili’s Mono Lisa and The Sofa, Chicago’s Stephanie Martinez’ Bliss!, and Chicago premiere of Justin Peck’s The Times Are Racing.

Opening the performance is Commedia (created in 2008), which takes us to the French-influenced 1920’s world of dance. For this piece, Christopher Wheeldon drew inspiration from Igor Stravinsky’s “Pulcinella Suite”, which was originally composed in 1920 for a ballet featuring harlequin costumes by Pablo Picasso. Commedia is the longest piece of the evening, with several scenes set to the beautiful, albeit occasionally disturbing, Stravinsky’s music. It starts out with a group dance (Sinfonia) which sets the tone for a gorgeously expressive and athletic ballet. Dancers are wearing very Picasso-ish black and white harlequinade costumes designed by Isabel Toledo, which also bring out the whimsical nature of Wheeldon’s choreography. This ballet is mesmerizing in its entirety. Pas des deux dances (such as Serenata by Brooke Linford and Yoshihisa Arai, and Gavotta by Gayeon Jung and Edson Barbosa) all have some hypnotic fluidity that takes one’s breath away. The ballet’s highly creative choreography is only matched by Joffrey dancers’ exquisite skills, resulting in a piece that is simply stunning.

After the first intermission, the next three pieces are united by a common theme of modern courtship. Mono Lisa and The Sofa, both choreographed by Itzik Galili, playfully explore the nature of romantic relationships. Mono Lisa, created in 2003, features the fabulous Victoria Jaiani and Stefan Goncalvez. He likes the girl; she plays hard to get – the old game of cat and mouse. Percussive sounds of an old typewriter set to a cool bit (original music by Itzik Galili and Thomas Hofs) create intensity, as in some futuristic tribal music.  Completed by the dancers’ precise moves and skilled acrobatics, Mono Lisa is decisively void of any romantic quality. This is further enhanced by the set design consisting of steel frames and bright lights.

 Galili’s second piece of the evening, The Sofa, has certain elements of a pantomime. The sofa on the stage becomes piece de resistance, where the couple fights for space and independence. The boy is a little aggressive towards his girl, but then he gets a taste of his own medicine in a comical gender-reversal twist half-way through the dance. Danced by Temur Suluashvili, Anna Gerberich and Fernando Duarte, it’s a fun and highly energetic piece set to music by Grammy Award-winner Tom Waits.

Included in the program is Chicago choreographer Stephanie Martinez’ ballet The Bliss! which she created for the Joffrey Ballet Company as a part of an Igor Stravinsky evening. For this piece, Martinez was inspired by Mildred and Robert Bliss who commissioned Stravinsky to compose Dumbarton Oak Concerto for their 30^th wedding anniversary. On stage there’re six handsome topless male dancers, possibly looking for a testosterone-fueled action. A pretty girl enters and a scene out of Michael Jackson’s video “The Way You Make Me Feel” immediately comes to mind. It’s a mating game, no doubt, full of flirt and seduction. A beautiful as well as an interesting piece whose many different flavors and textures develop as it moves through Stravinsky’s music.

The program concludes with The Times Are Racing, Justin Peck’s so called “sneaker ballet” for 20 dancers. Dancers wearing street clothes (costumes by Humberto Leon) including shirts with word-messages such as “defy”, “change”, “protest”, “shout”, and “fight”, move with purpose and grace. Set to the last four tracks of Dan Deacon’s album America, it’s a very youthful and explosive ballet, which draws its inspiration from a variety of dance styles. Featuring an incredibly expressive dancer Edson Barbosa, as a boy lost in the city, exploring and seeking, trying to learn and ultimately fit in.  

Through February 23rd

http://joffrey.org/

Raven Theater has a penchant for aptly timed revivals, and their production of Henrik Ibsen's A Doll's House is no exception. Published and set circa 1879 in Norway, the play offers a snapshot of domestic life at the time, reminding us how much progress has been made since then -- and warning us not repeat history.

Nora is a happy wife with a loving husband, three children, and a comfortable home. Everything seems grand, until the cracks start to show in the veneer of their supposed domestic happiness.

Husband Torvald, smiling, makes passive-aggressive comments to his wife about her spending habits, even though she's merely purchased some Christmas gifts for the children. Nora, of course, is not allowed to work to earn her own money either. In other words, money is a catch-22 for Nora, and for Torvald's it's a way to assert dominance. He spends most of his time holed up in his study, occasionally checking in on his wife and making sure she knows her place, calling her gentle pet names like "songbird" and his "doll."

Little does Torvald know or even deign to imagine that Nora has hopes, fears, opinions, and secrets of her own that she works to hide from him. In this house, she knows it is not her place to be her own person; that is the husband's job. She is meant to decorate, care for the children alongside the nanny they already hire to care for the children, tend to her husband, and dance well at parties.

Nora is not even allowed to open the household mailbox, to which only Torvald has a key, yet another way for him to keep her under his thumb. The locked mailbox serves as a tangible symbol of the world, life, and opportunities that Nora can't access due to her position and gender. For all intents and purposes, she's a prisoner in her own domestic life, requiring permission from the warden, her husband, for anything she may need or want.

There's satisfaction in watching Nora realize over the course of the play what kind of man her husband really is, and actress Amira Danan deftly conveyed this transformation from bright and cheery to wise and wary. Whether or not she escapes her prison I'll leave a mystery. But I will leave you with the fun fact that this play caused significant controversy when it went into production in 1879.

According to playwright Ibsen at the time A Doll's House was written, "a woman isn't allowed to be herself in modern society." While that, thankfully, has changed, it should be pointed out that it was not so long ago Ibsen said this -- less than 150 years -- and to see this dynamic of the controlling husband and stifled wife play out onstage serves as a stark reminder of how far we've come, and where not to go again.

A Doll's House is playing through March 22 at Raven Theatre at 6157 N Clark St. Tickets and schedule here. 

"Life's a god damned laugh riot," writes Mart Crowley in his 1968 play "The Boys in the Band". Windy City Playhouse revives the iconic play under the direction of Carl Menninger. This is the first revival in Chicago in over twenty years. "The Boys in the Band" just ended a successful Tony Awarded run on Broadway in 2018. The film remake produced by Ryan Murphy is scheduled to premiere on Netflix later this year. 

Mart Crowley's play was a pivotal moment for LGBT representation when it opened off-Broadway in the late 60s. A play about five gay men throwing a birthday party for their friend struck a chord with both straight and gay audiences. It was a window into the previously taboo urban gay lifestyle complete with frank sexual references and queer vernacular. Crowley's observations about aging and love cover universal ground that many in their 30s and 40s can relate to. 

Windy City Playhouse's production is an immersive experience. A chic set by William Boles serves as both the seating and the performance space. Patrons are invited to the party snacks and are offered drinks throughout the two-hour show. This quirky touch adds to the fun of the first half of the play. The main character Michael (Jackson Evans) is hosting and one by one he receives his guests and bit by bit their life stories are revealed in searingly funny dialogue. The ensemble cast has great chemistry and the party environment is contagious fun. 

As the drinks flow and Michael's straight college roommate arrives, the play takes a decidedly darker tone. Similar to an Albee play, the witty banter ratchets up to cutting insults. The party is in Harold's (Sam Bell Gutwitz) honor but Michael has other ideas and initiates a demoralizing game. The battle for dominance between the two characters is uneasy and authentic. Gurwitz commands the stage in brief but withering lines. Jackson Evans makes Michael a sympathetic character even as he lobs outdated, racially insensitive insults at Bernhard (Denzel Tsopnang).

Despite 50 years of LGBT progress, the themes of aging, substance abuse and self-acceptance explored by Crowley feel as relevant today as ever. The world is much more accepting now than it was in 1968, but it's because of plays like "The Boys in the Band". Some aspects transcend sexual orientation while others are very specific to gay life. The play serves to humanize what people at the time thought of as perversion. "Boys in the Band" helped further a growing movement that would later open the door for more plays, novels and movies to tell LGBT stories in the mainstream. 

At Windy City Playhouse. 3014 W Irving Park Road. 773-327-3778

*Extended through May 17th!

It’s interesting to view the world through the lens of an early 20th century Italian opera composer. When “Madama Butterfly” by Puccini premiered in Milan in 1904 it was met with abysmal reviews. Audiences clamored that he had recycled music from his previous hit “La Boheme” which seems like the least of this opera’s problematic themes by today’s standards. After some quick revisions, “Madama Butterfly” emerged as one of the most recognizable operas in the world. Lyric Opera kicks off 2020 with a thrilling revival. 

“Madama Butterfly” is itself an adaptation of an 1898 short story by John Luther Long. Puccini worked with librettist Luigi Illica to bring this tragic semi-true story to the stage. The beloved opera has since been adapted many times since, mostly notably as “Miss Saigon”.  Puccini’s opera tells the story of a teenage girl who marries an American naval officer on a tour of duty in Japan. To him it’s a fake marriage so that he may sleep with her. To her, it’s true love. Predictably, the naval officer Pinkerton (Brandon Jovanovich) abandons her and she is left with a naïve hope that he will return to her. Despite other offers of marriage, Butterfly clings to the fantasy of Pinkerton while her maid Suzuki (Deborah Nansteel) shields her from a bitter reality. 

The opera was originally written in two acts, but audiences were left confused and disappointed. Puccini split the second act in two and inserted a hauntingly beautiful entr’act. Is this the best Puccini opera? Probably not. Where it excels at drama, it somewhat falters in the catchy melodies traditionally expected of Puccini. Afterall, it is Puccini whom we have to thank for influencing some of the best modern musical theatre composers like Andrew Lloyd Webber and Boublil/Schonberg. 

Lyric’s gorgeous revival directed by Louisa Muller seems understated. A subdued orchestra puts the spotlight on the cast, who more than delivers. Lyric stage favorite Ana Maria Martinez and Deborah Nansteel give two powerhouse performances. Martinez has a sung the role many times in her storied career and Lyric’s current production should be considered a real treat. 

Puccini and Illica’s perception are that Americans take what “fortunes” they want around the world with little regard to those they hurt. Puccini even goes so far as to sample the American national anthem many times throughout the opera. It’s deployed at such opportune moments that it would be impossible to read as flattery. Though, Puccini’s problematic orientalism in many of his operas often makes patrons bristle at unintentional stereotyping of Asian culture. While some of the themes of “Madama Butterfly” make modern audiences uncomfortable, what can’t be denied is that Puccini gave us some of the most accessible and entertaining operas ever composed. “Madama Butterfly” despite its flaws achieves what good theatre should. It grabs us by the heartstrings with an enchanting score and a compelling script. 

Through March 8th at Lyric Opera Chicago. 20 N Upper Wacker Drive. (312) 827-5600

I have seen Riverdance productions in the past and have always enjoyed them, but the Riverdance 25th Anniversary Show, currently being performed at Cadillac Place Theatre, really ramped up the production value and left me breathless. With new soundtrack additions by original composer Bill Whelan, and amazing 3D projections in the background by producer Moya Doherty and director John McColgan, this new touring production inspires and delights the eye from beginning to end.

Of course, the dancing is spectacular and with numbers that merge several dance forms like American tap and Flamenco, the artform of Celtic Riverdance proves that this form of dance is just as demanding if not more so than other traditional forms of dance. 

I had forgotten that many of the dancers also sing, their voices and harmonies exquisite and uplifting. Several lead vocal performances mesmerized the audience whether a solo sung or the entire ensemble joining in song. 

But as beautiful as the singing and visuals, Riverdance is about wowing its audience with its rapid-fire movement, intricate footwork and choreographed tapping that can at times be thunderous. Every dancer was fantastic. The two main dancer leads, Maggie Darlington and Jason O’Neil, had great chemistry while other prominent performers Gianna Petracic, Will Bryant, Patrick O’Mahony and Jason O’Neil continuously dazzled with one stunning performance after another.

The loosely based plotline allows for the romantic imagination to place its own meanings and personal inspiration about love and family and travel to and from one's homeland in many of the numbers. 

New technology employed on the ever changing lights and backdrops makes for a hypnotic and colorful experience that theater goers will find exciting and refreshing as one is challenged to watch the magnificent footwork of the dancers as the lush scenery rolls into and out of the stage area flawlessly.

Riverdance has come a long way since its beginning when it was just a seven-minute dance piece as an interval act in the 1994 Eurosong Dance Contest. The feedback from this captivating dance segment, a synthesis of Irish and International performance art, was tremendous, and the show creators knew they had something big. Soon after, the music show was developed into a full-length production in 1995 and box office records were broken and Riverdance has never looked back selling out shows all around the world. Riverdance brings us a unique dance form that requires and incredible amount of skill and can be roaring one moment and gracefully flowing in the next - and audiences just can’t get enough.    

I thoroughly enjoyed and highly recommend this new 25th Anniversary production of the Grammy winning and highly acclaimed show Riverdance for audiences of all ages who wish to spend a lively and uplifting night at the theater and leave feeling entertained and refreshed - especially during these gloomy Winter months!  

Riverdance is currently staged at Cadillac Palace Theatre through February 9th. For more info visit www.broadwayinchicago.com or www.riverdance.com.

When Tracy Letts wrote ‘Bug’ in 1995, it was an age when, yes, though conspiracy theories existed, they haven’t yet run nearly as rampant as the have since the September 11th, 2001 takedown of the mighty World Trade Center buildings in New York. Today we live in a world where conspiracies take form on a daily basis - and certainly the advances of information availability via the Internet over the past couple decades has played a big part in it.  ‘Bug’ reminds us that paranoia is nothing new and that going down rabbit holes can lead to ultimate disaster for some. But who’s to say one’s paranoia isn’t warranted – that there is some truth behind it? Perhaps partial truths lead to more truths or perhaps they become exaggerated. Or perhaps there was never any truth at all.

In Steppenwolf’s ‘Bug’ there are certainly leading moments of volleying back and forth on whether a truth exists or if paranoia-fed delusions have created a personal horror movie. 

Set in Oklahoma, we find a waitress, Agnes White (Carrie Coon) living in a roadside motel. She uses hard drugs and alcohol to get through most days and fears the return of her ex-husband, Jerry Goss, who was recently paroled from prison where he was incarcerated for armed robbery charges. While more and more paranoid with every silent phone call she receives that Jerry is near, she opens her door to a low-key drifter, Peter Evans (Namir Smallwood). He seems gentle enough. The two indulge in small talk and smoking crack and his company becomes a comfort to her. They are both lonely and she takes him in, hardly knowing him at all. Not long after a love affair begins, and then…he sees bugs…and more bugs…and then come the bites. The story quickly becomes a creepy thrill-ride filled with suspicion and government conspiracies, even touching on Bilderberg meetings, population control and the Oklahoma bombing, a tragedy that struck a particular chord with the playwright who was born and raised in the same state. It is a story about fear and trust. It is also, as Lett’s himself describes it, “a love story.”

Written to be staged in smaller theaters for a more intimate audience, Steppenwolf takes on the challenge of creating a larger production and, thanks to brilliant direction from David Cromer, who Letts calls the “greatest living director,” the theatre company pulls it off without a hitch. The play is up close and personal enough to really resonate while giving us a grand set that still puts every audience member inside the seedy motel room. Letts, a Pulitzer Prize for Drama winner, also shares his excitement of a larger venue. “’Bug’ has primarily been done in really small spaces, normally in theaters of 100 seats or fewer, so to see it in our theater with the caliber of our actors and David Cromer directing…I can’t wait,” says Letts.      

Ensemble member Carrie Coon, who previously tore it up in Steppenwolf’s ‘Who’s Afraid of Virginia Wolf?’ and was nominated for a Tony for the same role on Broadway, shows us once again why she is considered a top-caliber stage actor. Her portrayal of Agnes is nothing short of breathtaking. Coon courageously navigates this bold role with harsh demands and leaves us with a performance that is haunting and memorable but most of all real. Fellow ensemble member Namir Smallwood is also superb is his take of Peter Evans and watching him is as compelling as is gets in this thriller. So convincing is Smallwood, I could have sworn I was getting bug bites just watching him. Together, the two are a force. In addition to the dynamism of the play’s two leads, the show gets strong support from Jennifer Engstrom as R.C., Steve Key as Jerry Goss and Randall Arney as Dr. Sweet.

Though a psychological thriller, the play is not without well-placed humor. It’s got a little of everything. ‘Bug’ is just a damn good show from its suspenseful opening scene to its climactic ending. The tension throughout builds at a steady pace, keeping us in the dark just enough to continually thirst for its next moment.

Highly recommended.

‘Bug’ is being performed at Steppenwolf Theatre through March 15th. For tickets and/or more information, visit www.steppenwolf.org. 
    
 

Before seeing the co-world premiere (with Actors Theatre of Louisville) of Liliana Padilla’s How to Defend Yourself, read their program note. In it, they reflect on their fear that the play might be “harmful and re-traumatizing” (it might). They also state their aspiration “to be in the truthful chaos—to hold a space of pain and grief and complexity.” This it certainly does. With forays into montage and speculation, clearly delineated by shifts in light and sound, the truth is not in the reality, but in the emotional journeys of the characters. Padilla has an ear for realistic dialogue that cuts to the quick, despite a good dose of situational humor. Directed by Marti Lyons with a cast that physically and emotionally throw themselves into the highs and lows of the fraught relationships they navigate, How to Defend Yourself is a taut and powerful, if ultimately frustrating examination of sex, sexuality and consent in a world where #MeToo and Tinder hookups coexist. As one of the characters points out, it’s hard to express one’s desires if one isn’t sure what they are (and whether they are acceptable).

The play begins when a young college student, Susana, is hospitalized after a brutal sexual assault. Her sorority sister and mentor Brandi, a black belt, decides to act and host a self defense class. She recruits her sorority sister Kara to help. However, despite the emotion that the crime elicits, only three students show up—Diana and Mojdeh, who seem as eager gain access to the sorority they hope to pledge, and painfully shy Nikki. Diana is disappointed in the lack of firearms. Mojdeh is distracted by her upcoming date. Nikki struggles to speak audibly. After an empowering session of punching, Brandi introduces the fraternity men who have agreed to assist with the workshops, the overbearing Andy and the well-intentioned Eggo. It soon becomes clear that all the participants are bringing their own baggage and attitudes to the workshop, and a fair amount of guilt. The characters are well-drawn and well-spoken; all articulate their views with clarity, though emotions soon run high as they prove to have some irreconcilable differences. Despite the reason for their meetings, most of the conversation revolves around sex: communication, consent, and sexual desire. There are no villains, but sides are chosen and there is no way to avoid the feeling that complicity in the rape culture that led to Susana’s victimization takes many forms.

Reinforcing Padilla’s script, director Marti Lyons has assembled a cast that is diverse racially, ethnically, and in body type. The contrast between the leggy, confident sorority sisters and the shorter, less secure would-be pledges and the mousy Nikki serves as a constant reminder of the power dynamic they inhabit, as does the difference between the powerfully built Andy and the less physically imposing Eggo. In addition to the physical types, which serve as a reminder of the typical dynamic between victim and attacker, the characters cannot escape their skin or their backgrounds. For example, it is clear that part of what has shaped Eggo’s considerate attitude toward sexual partners—besides the fact that he’s a nice guy—in contrast to Andy’s gladiatorial attitude, is the fact that, as an African-American male, he needs to be more concerned about mis-read cues than Ken-doll Andy. Lyons keeps the rapid-fire dialogue tight and pulls no punches with the heavy themes that underscore the play. Yu Shibagaki’s scenic design transforms the Victory Gardens space into a photo-realistic gym. Christine Pascual’s costumes show the evolution of the characters in athletic wear, as well as giving insights into their transformations outside of the safe space, and, in an extended sequence of evolving parties, traveling through time and developmental stages. Paul Toben’s lighting design and Thomas Dixon’s sound design shape the focus on the play between intimate exchanges, amped up training sequences and resonant emotional asides. Movement director Steph Paul, fight director Matt Hawkins and intimacy director Rachel Flesher work seamlessly to show the relationship between fighting, friendship and sex. Training violence spills over into real violence, which gives way to an easy physical camaraderie, a simulated attack leads to the recognition of a spark of attraction. The balance between violence and sexuality that is explored in the script is well represented by this movement design team and the actors who realize their work.

The cast not only looks perfect, they fearlessly commit to Padilla’s vision, which is not always comfortable. Though on the surface, the characters are the sort of enviable success stories of college, the assault on their sorority sister reveals doubts and fears that are impossible to shake. As Brandi, the woman who tries to teach her peers how to defend themselves, Anna Crivelli is poised and self-possessed until the questions from her trainees start chipping away at her surprisingly brittle veneer. Crivelli portrays Brandi’s downward spiral initially with gritty resolve, then with frightening vulnerability. Isa Arciniegas’ Diana struggles to fit in, but her role as outsider makes her a sounding board for the other characters’ fears; Arciniegas finds the insecurity behind her character’s survivor mentality. Ariana Mahallati’s Mojdeh is awkward and desperate, trying to achieve the comfort in her own skin that the other characters seem to have by adopting the script that she thinks she is supposed to learn, whether or not it is her own. Andrea San Miguel’s Nikki goes from barely visible and audible, hiding behind a baggy sweatshirt, to embracing her physical and verbal power, with heartbreaking results. San Miguel navigates this journey in an often hilarious portrayal as her character surprises herself moment to moment. In a powerful and complex performance, Netta Walker as Kara defends her desires while recognizing that they might give license to men who extend them to other women. It is arguments like the one between Kara and the solicitous Eggo that most powerful convey the difficulty of effective communication. Invited into the space by Brandi, the men in the story struggle with their role there, as they find themselves cast alternately as attackers, objects of desire and representatives of masculinity. Jayson Lee’s Eggo brilliantly encapsulates the dilemma faced by men who want to care for women the way they want, while Ryan McBride’s Andy articulates the need for positive consent but disparages Eggo’s version of this as less masculine, calling him an Incel at one point. McBride somehow balances his character’s entitled self-confidence with a desire to do the right thing. All the characters do their best to communicate and ensure a sense of safety, but even with the best of intentions safety proves elusive.

Liliana Padilla’s How to Defend Yourself does not give any insight into how to do this. In fact, it clearly shows the difficulty in doing so when attackers are often people one knows, when even shifting attitudes and the ability to clearly and openly talk about desires and sex do not necessarily get to the point, and when one is smaller or less well-armed than potential aggressors. Padilla’s play articulates that, with all the progress that appears to have been made, there are still entrenched attitudes about gender, sexuality and communication that make this world no less dangerous than the one that fostered Harvey Weinstein. Under the incisive direction of Marti Lyons, supported by a crack team of designers and an ensemble that mines the script’s humor while committing fully to the underlying themes. Often raucously entertaining, How to Defend Yourself finally arrives at the conclusion that learning self-defense may not be as effective as one would like, and, more importantly, it should not be what we learn.

How to Defend Yourself runs through February 23 at Victory Gardens Theater, 2433 N. Lincoln Avenue. Performances take place Tuesdays – Fridays at 7:30 pm, Saturdays at 3 pm and 7:30 pm, and Sundays at 3 pm. Regular performances are $31 - $65. Tickets can be purchased at www.victorygardens.org or at the box office. 2433 N. Lincoln Avenue. 773-871-3000.

Do you love a good whodunnit? If so, you will love this rich and funny production of ‘The Mousetrap’ directed with great staging and humor by Sean Graney.

Agatha Christie's ‘The Mousetrap’ opened in London in 1952 and never stopped running. It is the longest running play in stage history, and for good reason. Its well-crafted script is entertaining throughout, is filled with colorful characters and keeps one guessing right until the very end. And Graney takes the play in a great direction by casting character actors with serious chops in all roles. 

Mollie and Giles Ralston (wonderfully played by Kate Fry and Allen Gilmore) are a newly married couple who have decided to turn the house she inherited into a bed and breakfast. The couple are a little overwhelmed by the flurry of guests that arrive on their opening when they all become snowbound in the house and get news that a murder has occurred nearby - and the killer is still at large, and most likely heading their way. It doesn’t take long before everyone becomes a suspect. 

While piecing clues together, audience members can enjoy an eyeful of color and textures in the fabulous set design thanks to scenic design by Arnel Sancianco with lighting by Claire Chrzan, sound by Kevin O’Donnell and costumes by Alison Siple, which include a tall window with real rain falling and a smoky fireplace are ominous and luxurious at the same time. The costumes for all cast members are stylish and multi-layered and particularly delightful to the eye are Alex Goodrich’s in head to toe orange patterns and David Cerda’s in a spectacular ensemble of royal purple with fur trim on his floor length winter coat.   

No spoiler alerts here, if you have never seen the play you will have a great time guessing who the murderer is and if you have seen it, this well done production will still keep you engaged right up until the end.

Erik Hellman gives a great performance as Detective Sgt. Trotter, the lawman who arrives on snow skis in the middle of the storm, earnestly trying to protect all the houseguests from becoming murder victims. 

My favorite performances in this cast came from Alex Goodrich as Christopher Wren and David Cerda as Mr. Paravicini. Both are outstanding. Cerda is well known for his superb camp theater productions as the Artistic Director, actor, resident playwright and co-founder of Hell in a Handbag Productions. In this very funny production, Cerda steals every scene he is in and provides great comic relief as the tension on the set builds and builds all while dressed to the nines in royal purple, silk knee high knickers. 

Goodrich has also made his mark in Chicago area theater and is perhaps best known for his many leading roles at Marriott Theatre and Chicago Shakespeare. The talented actor reminds me so much of another great Chicago comic actor, John C. Reilly, and he fills the room with an energy of youthful disgust mixed with childlike wonder as he flutters about the large stage getting big laughs with his over-the-top manic energy, spot on delivery and physical comedy.

Carolyn Ann Hoerdemann plays a very convincing and killable guest as the picky and annoying Mrs. Boyle, while Tina Munoz Pandya is mysterious as Miss Casewell and Lyonel Reneau gives us a strong Major Metcalf.

I highly recommend this funny, exciting, and well-paced production of the classic Agatha Christie murder mystery for a night of suspense and laughs on a cold wintry eve at the lovely Court Theatre. For more show information visit www.CourtTheatre.org.

Roe V Wade might be the law of the land now, but playwright Lisa Loomer’s new play “Roe” suggests that it’s always been on shaky ground. Directed by Vanessa Stalling, ‘Roe’ makes its area debut at Goodman Theatre with a big cast of familiar faces.

In “Roe” Lisa Loomer pieces together the life stories of both the plaintiff (Jane Roe, played by Kate Middleton) and the ambitious young lawyer Sarah Weddington (Christina Hall)  who argued the case all the way to the supreme court.

Like the old telephone game, stories have a way of changing from telling to telling. The origin story of Roe V Wade is complicated and varies depending on who you ask. Lisa Loomer digs deep into the hearsay and rumors to compose what feels like a thorough account. When she’s unsure, or she found conflicting versions of the same event, she uses character asides to clarify. The effect brings a humorous tone to what could be a dreary subject matter for some.

The play is a non-linear, often scattery, look at the process it took to win the case as well as the checkered past of Roe, later outed as Norma McCorvey. While many American women champion the right to choose, it’s hard to avoid the exploitation narrative that would ultimately lead McCorvey to a tabloidy life in the years following the case. 

What could sound like a living history report, is anything but. Instead, Loomer’s use of structure and theatrical storytelling make this play leap off the stage. She’s good at finding the heart of the historic figures she’s writing of. The cast also brings a lot to the material. There’s something tragic and relatable to Kate Middleton’s performance. She really gets into the psyche of someone easily taken by the whims of the world around them, and sadly getting taken advantage by them too. Her transition from Jane Roe plaintiff to internationally known figure and subsequent rejection of abortion says a lot about the state of reproductive and religious education in America. 

“Roe” is not a play about abortion, that’s only part of the story. The irony is that the famous plaintiff never did get the abortion she sought. As Sarah Weddington once argued, this isn’t a case about being pro-abortion. This is a case about a woman’s right to decide what is best for her own body. 

Roe V Wade changed America, but even almost 50 years later it’s still being challenged by the religious right. Abortion was legalized on a national level as a result of the case, but when you include all the stipulations, its hard to call it entirely legalized. In fact, some states today have less than five clinics that perform abortions. Every election cycle, more and more restrictions are made on abortion. “Roe” makes a case for why we cannot have collective amnesia on the facts of this case. It serves as an education as well as a rallying cry to anyone in America who calls themselves a feminist.